Podcasts about RMS

Le Carnet de Maxime Blot "Devenir un Artisan Hôtelier" pour 39€ seulement !Fruit de plusieurs années d'expérience sur le terrain, ce carnet signé Maxime Blot, Meilleur Ouvrier de France, offre un regard affûté sur les enjeux actuels du service hôtelier.1️⃣ Présentation de l'épisode :Si je vous dis réceptionniste, vous imaginez quoi ? Quelqu'un derrière un comptoir qui remet des clés, répond au téléphone, fait le check-in / check-out.Pourtant, ce métier a radicalement muté — et les compétences d'avant ne sont plus suffisantes.À la fin de cet épisode, vous aurez une grille claire des compétences du réceptionniste nouvelle génération — et vous comprendrez pourquoi ça change tout pour un hôtel.2️⃣ Notes et références :▶️ Toutes les notes et références de l'épisode sont à retrouver ici.3️⃣ Le sponsor de l'épisode : MewsMews, c'est la plateforme de gestion hôtelière qui réunit tout ce dont vous avez besoin : PMS, POS, RMS, housekeeping et paiements.L'objectif ? Automatiser les tâches répétitives à faible valeur, pour que vos équipes puissent se concentrer sur ce qui compte vraiment : créer des expériences mémorables pour vos clients.Si vous souhaitez en savoir plus ou demander une démo, contactez Mews de ma part — et bénéficiez d'une offre exclusive. Rendez-vous sur mews.com !4️⃣ Chapitrage : 00:00:00 - Introduction00:02:00 - Du réactif au proactif00:04:00 - Du logistique au psychologue de terrain00:05:30 - Du silo au chef d'orchestre transversal00:07:00 - De polyvalent à technocompétent00:08:00 - ConclusionSi cet épisode vous a passionné, rejoignez-moi sur :L'Hebdo d'Hospitality Insiders, pour ne rien raterL'Académie Hospitality Insiders, pour vous former aux fondamentaux de l'accueilLe E-Carnet "Devenir un Artisan Hôtelier" pour celles et ceux qui souhaitent faire de l'accueil un véritable artLinkedin, pour poursuivre la discussionInstagram, pour découvrir les coulissesLa bibliothèque des invités du podcastMerci de votre fidélité et à bientôt !Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

The ASX 200 staged a remarkable comeback to finish down only 20 points at 8633 (-0.2%) after falling nearly 100 points in early trade. A stronger US futures market helped, as did a calming in the oil price and the absence of any collapse in Korea.Once again, though, we saw sector rotation, with the banks still under pressure. CBA fell 2.4%, WBC dropped 2.6%, and MQG eased 0.7%. The Big Bank Basket fell to $260.43 (-2.3%). Other financials performed slightly better, and insurers continued to do well, with QBE the star of the show, up 3.7%. REITs also gained, with CHC up 2.8% and SGP rising 3.3%. Industrials were a mixed bag. The rally in WES continues, and retail stocks held firm, with TLS up 0.4% and both WOW and COL continuing their strong winning streaks.Technology was once again very much on the nose, with tax-loss selling and ongoing pessimism surrounding SaaS business models. XRO fell 3.6%, WTC dropped 2.8%, and NXT was hit hard as well. Healthcare was a mixed bag of lollies, with CSL continuing to push higher, gaining another 4.2%. However, RMD fell 0.9%, while SIG continued to drift lower on concerns about a UK expansion push.Meanwhile, resources recovered some poise, although the move lacked conviction. BHP rose 1.0%, and some lithium names improved, with PLS rising alongside LTR, which enjoyed a strong day, up 4.2%. Gold stocks also found some support, with EVN up 2.1% and RMS also edging higher. Oil and gas stocks were stronger, with WDS up 1.6% and STO jumping 2.0%. While coal stocks recovered, uranium stocks continued to struggle.In corporate news, LLC rose 4.6% following the appointment of a new CEO and the maintenance of guidance between 28 cents and 34 cents. NST fell slightly as Elliott Investment Management called for further board changes. SXL dropped 4.4% after the company downgraded its full-year earnings outlook and announced 300 job cuts. AAI fell 8.3% following a warning about its Middle East operations.In economic news, the CBA said the RBA is likely to keep rates on hold for the first time this year. Australian wages rose 0.8% in May, with consistent growth recorded over the last 18 months.Asian markets weaker. Japan flat, Hong Kong down 1.0%, and China down 0.7%. South Korea fell slightly.US futures: Dow up 88 and Nasdaq up 150. Oil up 1.0%. Europe opening easier. ECB expected to hike rates today.Marcus Today – Daily Market Insights Marcus Today provides clear, practical commentary for self-directed investors – covering markets, portfolios, education, and decision-making without the noise. If you'd like to go further: Start a free 14-day trial of Marcus Today http://bit.ly/mt-trial-podcast Join Marcus Today Use code MTPODCAST for 10% off http://bit.ly/mt-join-podcast-offer MT20 – Managed ETF Portfolio A professionally managed portfolio run by Marcus Padley and the team, using ASX-listed ETFs with active market timing. http://bit.ly/mt20-podcast Principles – How We Think About Investing A short video series on timing, behaviour, and decision-making. No stock tips. http://bit.ly/mt-principles-podcast — Disclaimer This podcast is general information only and does not consider your personal circumstances. It is not personal financial advice. 

The ASX 200 showed solid gains to finish up 49 points at 8,653. Once again, it was the tale of two cities, with the best of times and the worst of times. The banks held steady, with CBA down 0.2%, and WBC doing well, up 2.0%. Insurers also pushed higher, led by QBE up 2.4%, and even ASX up 0.6%, with the Big Bank Basket at $266.54. Elsewhere, industrials were once again stronger, with defensive stocks taking the bull by the horns. WES rose 4.3%, TLS rose 2.0%, and both the supermarket stocks WOW and COL did very well, building on recent gains in the healthcare space. CSL was also strong as it looks to have turned the corner, up 3.5%, with SHL also firm, although SIG fell 5.5% on the back of media speculation that it was looking at buying the Boots chemist chain in the UK. REITs were positive, with GMG up 1.6%, CHC up 1.8%, and other industrials faring okay. Retail also had a good bounce, with JBH up 3.5% and ALL up 2.2%. Technology stocks were still very much in the doghouse, with XRO down 2.0%, TNE down 2.3%, and NXT down 4.1%. Utilities firmed in this environment, and the All-Tech Index fell 1.8%.Meanwhile, resources were once again on the nose, with BHP up 0.2%, and RIO and FMG also falling as iron ore came under pressure. Lithium stocks fell, PLS down 1.7%, and LTR falling a big 8.0%, with MIN also suffering heavy losses. The gold sector was also slammed again as the gold price fell out of bed, with NST down 3.5%, EVN falling 5.0%, and RMS also having a bad day, down 3.8%. Over in the energy space, Woodside slipped slightly, and Santos pushed ahead somewhat, with coal stocks under pressure, WHC down 4.4%, and uranium stocks still on the nose.In corporate news, SDF rose 36.2% after receiving a $6.00 non-binding indicative offer. IGO fell hard after a fire broke out at the Chemical Grade Plant 3 facility at Greenbushes. WES had a good investor day reaction, saying it would drive growth through AI and data monetisation. Citi downgraded banks following the budget changes. In economic news, the ANZ-Roy Morgan consumer confidence rose for the second consecutive week, lifting two points to 70.8.Asian markets weaker. Japan down 1.9% Hong Kong down 0.9%, and China down 1.1%. South Korea falls again.US futures: Dow down 78 and Nasdaq down 132. Oil down 1.5%. Europe opening easier. Marcus Today – Daily Market Insights Marcus Today provides clear, practical commentary for self-directed investors – covering markets, portfolios, education, and decision-making without the noise. If you'd like to go further: Start a free 14-day trial of Marcus Today http://bit.ly/mt-trial-podcast Join Marcus Today Use code MTPODCAST for 10% off http://bit.ly/mt-join-podcast-offer MT20 – Managed ETF Portfolio A professionally managed portfolio run by Marcus Padley and the team, using ASX-listed ETFs with active market timing. http://bit.ly/mt20-podcast Principles – How We Think About Investing A short video series on timing, behaviour, and decision-making. No stock tips. http://bit.ly/mt-principles-podcast — Disclaimer This podcast is general information only and does not consider your personal circumstances. It is not personal financial advice. 

Le Carnet de Maxime Blot "Devenir un Artisan Hôtelier" pour 39€ seulement !Fruit de plusieurs années d'expérience sur le terrain, ce carnet signé Maxime Blot, Meilleur Ouvrier de France, offre un regard affûté sur les enjeux actuels du service hôtelier.1️⃣ Présentation de l'invité :Et, si 2 000 inconnus pouvaient acheter ensemble un château du XIVᵉ siècle, le rénover, et en faire un lieu vivant ? C'est exactement ce que Jéremy Nabais a fait — avec ses auditeurs. Jérémy est l'animateur de Ça fait un bail !, un podcast sur l'immobilier. Mais, récemment, il est devenu propriétaire du Domaine de Fontenay, à quelques kilomètres de Paris. Un domaine de 12 hectares dans la Sarthe acheté en crowdfunding.2️⃣ Notes et références :▶️ Toutes les notes et références de l'épisode sont à retrouver ici.3️⃣ Le sponsor de l'épisode : MewsMews, c'est la plateforme de gestion hôtelière qui réunit tout ce dont vous avez besoin : PMS, POS, RMS, housekeeping et paiements.L'objectif ? Automatiser les tâches répétitives à faible valeur, pour que vos équipes puissent se concentrer sur ce qui compte vraiment : créer des expériences mémorables pour vos clients.Si vous souhaitez en savoir plus ou demander une démo, contactez Mews de ma part — et bénéficiez d'une offre exclusive. Rendez-vous sur mews.com !4️⃣ Chapitrage : 00:00:00 - Introduction00:02:00 - La genèse du projet et la rencontre des associés00:12:00 - Le passage de l'immobilier à l'hospitalité00:20:00 - Une ingénierie financière hybride et innovante00:26:00 - Opérations, rénovation communautaire et outils "geeks"00:35:00 - Vision future et l'importance du contenu00:47:00 - Questions signaturesSi cet épisode vous a passionné, rejoignez-moi sur :L'Hebdo d'Hospitality Insiders, pour ne rien raterL'Académie Hospitality Insiders, pour vous former aux fondamentaux de l'accueilLe E-Carnet "Devenir un Artisan Hôtelier" pour celles et ceux qui souhaitent faire de l'accueil un véritable artLinkedin, pour poursuivre la discussionInstagram, pour découvrir les coulissesLa bibliothèque des invités du podcastMerci de votre fidélité et à bientôt !Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Stefan Mölling, Co-CEO von RMS, Deutschlands größtem Audiovermarkter, über das Audioversum, unfaire Plattformregulierung und die Kunst, eine Doppelspitze zu führen. Warum hören täglich 50 Millionen Menschen Radio? Warum fließt mehr als die Hälfte aller deutschen Werbegelder zu Meta, Google & Co.? Und wann wird aus einer Host Read Ad ein journalistisches Problem? Ein Gespräch über Audio als Wirtschaftsgut und als Ort, an dem Meinungsvielfalt täglich auf dem Spiel steht.

Le Carnet de Maxime Blot "Devenir un Artisan Hôtelier" pour 39€ seulement !Fruit de plusieurs années d'expérience sur le terrain, ce carnet signé Maxime Blot, Meilleur Ouvrier de France, offre un regard affûté sur les enjeux actuels du service hôtelier.1️⃣ Présentation de l'invité :Et, si l'hôtel du futur n'était pas sur Terre ? Frederick Buhr a commencé sa carrière à l'ouverture du Peninsula à New York — une marque chère à mon cœur. Depuis, il a cofondé une des premières agences digitales dédiées au tourisme, construit les premiers OTAs dans les années 2000, piloté des projets IA… et il vient de coécrire un livre sur l'IA et l'hospitalité, le tout enrobé de science-fiction.2️⃣ Notes et références :▶️ Toutes les notes et références de l'épisode sont à retrouver ici.3️⃣ Le sponsor de l'épisode : MewsMews, c'est la plateforme de gestion hôtelière qui réunit tout ce dont vous avez besoin : PMS, POS, RMS, housekeeping et paiements.L'objectif ? Automatiser les tâches répétitives à faible valeur, pour que vos équipes puissent se concentrer sur ce qui compte vraiment : créer des expériences mémorables pour vos clients.Si vous souhaitez en savoir plus ou demander une démo, contactez Mews de ma part — et bénéficiez d'une offre exclusive. Rendez-vous sur mews.com !4️⃣ Chapitrage : 00:00:00 - Introduction00:02:00 - Parcours de Frederic Buhr00:06:00 - L'IA dans l'industrie hôtelière00:16:00 - Formation, éducation et IA00:23:00 - Le livre "Hospitality Management: The AI Revolution"00:37:00 - Questions signaturesSi cet épisode vous a passionné, rejoignez-moi sur :L'Hebdo d'Hospitality Insiders, pour ne rien raterL'Académie Hospitality Insiders, pour vous former aux fondamentaux de l'accueilLe E-Carnet "Devenir un Artisan Hôtelier" pour celles et ceux qui souhaitent faire de l'accueil un véritable artLinkedin, pour poursuivre la discussionInstagram, pour découvrir les coulissesLa bibliothèque des invités du podcastMerci de votre fidélité et à bientôt !Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

The hotels winning today aren't just raising rates—they're using smarter systems, better data, and more strategic decision-making to improve profitability, guest experience, and long-term performance.Cody breaks down: Why ADR can be misleading  What modern revenue management software actually does  The biggest mistakes operators still make  And how independent hotels can compete without massive corporate revenue teams 

Le Carnet de Maxime Blot "Devenir un Artisan Hôtelier" pour 39€ seulement !Fruit de plusieurs années d'expérience sur le terrain, ce carnet signé Maxime Blot, Meilleur Ouvrier de France, offre un regard affûté sur les enjeux actuels du service hôtelier.1️⃣ Présentation de l'épisode :On a tous vécu ça : une formation inspirante… et deux semaines plus tard, rien n'a changé. Ni les équipes. Ni les comportements. Ni la culture. Pas parce que la formation était mauvaise. Parce que former ne suffit pas.Et si le problème, ce n'était pas la formation… mais ce qu'on en fait après ?La clé, c'est ce qui se passe après la formation, avec les rituels du quotidien.Je vous partage mon modèle en 4 étapes.Former ses équipes, c'est bien. Créer les conditions pour que ça dure, c'est mieux.Pour cela, téléchargez la fiche bonus de cet épisode pour passer de la formation à la transformation durable !C'est concret, actionnable, et gratuit !2️⃣ Notes et références :▶️ Toutes les notes et références de l'épisode sont à retrouver ici.3️⃣ Le sponsor de l'épisode : MewsMews, c'est la plateforme de gestion hôtelière qui réunit tout ce dont vous avez besoin : PMS, POS, RMS, housekeeping et paiements.L'objectif ? Automatiser les tâches répétitives à faible valeur, pour que vos équipes puissent se concentrer sur ce qui compte vraiment : créer des expériences mémorables pour vos clients.Si vous souhaitez en savoir plus ou demander une démo, contactez Mews de ma part — et bénéficiez d'une offre exclusive. Rendez-vous sur mews.com !4️⃣ Chapitrage : 00:00:00 - Introduction00:02:00 - Le constat : La confusion entre apprendre et changer00:03:00 - L'obstacle majeur : La courbe de l'oubli00:05:00 - La formation comme « divertissement professionnel »00:06:00 - Le modèle de transformation en quatre étapes00:09:00 - La solution Hospitality Insiders et le passage à l'actionSi cet épisode vous a passionné, rejoignez-moi sur :L'Hebdo d'Hospitality Insiders, pour ne rien raterL'Académie Hospitality Insiders, pour vous former aux fondamentaux de l'accueilLe E-Carnet "Devenir un Artisan Hôtelier" pour celles et ceux qui souhaitent faire de l'accueil un véritable artLinkedin, pour poursuivre la discussionInstagram, pour découvrir les coulissesLa bibliothèque des invités du podcastMerci de votre fidélité et à bientôt !Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Soultex - Legacy Beijing DNB Show Ep31 // feat Offbeat // (Russia Far East) Old-Skool Jungle RAVE style! (Follow to download) tracklist: 01) Krome & Time- The Slammer (Remastered 1993 Original Version) 02) Paul SG- Skinny Norris 03) Black Barrel,Karl Miller- Deep Excavation 04) Added- Kimba 05) Boogie Times Tribe- The Dark Stranger (Serum VIP Refix-Unreleased) 06) Blade (Dnb)- Lunar Descent 07) Quarts- Interloper 08) Rms, JayBee- Stomp 09) Rufige Kru, Goldie & Submotive- People & Places (Submotive VIP) 10) HLZ- Roadblock 11) Nikki Nair, Foodman- Sorry I Lost My Glasses In The Public Bathhouse 12) Submarine- List Of Issues 13) Fracture, Neptune- Good Stuff 14) Noisia, Former, Sleepnet, ring noord- Wild Flowers (Original Mix) 15) Quantum Mechanix- Human Mechanix 16) Zero T & Beta 2- Misdemeanour 17) Park Shadow- Ascension 18) Naibu- Clouds (feat. Key)

Saskatchewan Pulse Growers (SPG) launches a new strategic plan with a new focus on priorities with the greatest impact on pulse growers in Saskatchewan, looking ahead to 2030. SPG Executive Director Carl Potts explains the plan is built on direction from its ninemember Board of Directors-made up of farmers. The new plan highlights four key focus areas. AND The Saskatchewan Association of Rural Municipalities is urging rural residents to run for municipal councils and truly make a difference in their communities and make a difference. SARM President Ray Orb says many RMs have vacancies on councils, and this presents an opportunity for individuals to get involved with the issues that directly affect daily life for the people in rural Saskatchewan. SARM has created a new video to discuss some common misconceptions around rural representation.See omnystudio.com/listener for privacy information.

Le Carnet de Maxime Blot "Devenir un Artisan Hôtelier" pour 39€ seulement !Fruit de plusieurs années d'expérience sur le terrain, ce carnet signé Maxime Blot, Meilleur Ouvrier de France, offre un regard affûté sur les enjeux actuels du service hôtelier.1️⃣ Présentation de l'invité :Imaginez : vous ouvrez votre restaurant pour la première fois.Personne ne le connaît encore.Pas de presse, pas de bouche-à-oreille, pas de file d'attente. Et pourtant, dès le premier soir, la salle est pleine.Pas de clients lambda — des passionnés, des connaisseurs, des gens qui sont là parce qu'ils ont choisi d'être là. C'est exactement ce que propose mon invité du jour.Tristan Laffontas est le fondateur du Club Pépites — un club gastronomique privé qui rassemble aujourd'hui un millier de membres autour d'une même obsession : les bonnes tables, les bons producteurs, et les bons vins.Cuisiniers du dimanche, professionnels de la restauration, amoureux du produit… Tous réunis dans une communauté qui fonctionne comme un club très select.Avec une promesse : vivre la gastronomie autrement.Creusons cela ensemble.2️⃣ Notes et références :▶️ Toutes les notes et références de l'épisode sont à retrouver ici.3️⃣ Le sponsor de l'épisode : MewsMews, c'est la plateforme de gestion hôtelière qui réunit tout ce dont vous avez besoin : PMS, POS, RMS, housekeeping et paiements.L'objectif ? Automatiser les tâches répétitives à faible valeur, pour que vos équipes puissent se concentrer sur ce qui compte vraiment : créer des expériences mémorables pour vos clients.Si vous souhaitez en savoir plus ou demander une démo, contactez Mews de ma part — et bénéficiez d'une offre exclusive. Rendez-vous sur mews.com !4️⃣ Chapitrage : 00:00:00 - Introduction00:02:00 - La genèse et la mission : « Faire du bien à la gastronomie »00:07:00 - Un modèle économique transparent et hybride00:16:00 - Le soutien aux restaurateurs : Les pré-ouvertures00:25:00 - La force de la communauté et la verticale Vin00:33:00 - Parcours personnel et philosophie de la résilience00:42:00 - Questions signaturesSi cet épisode vous a passionné, rejoignez-moi sur :L'Hebdo d'Hospitality Insiders, pour ne rien raterL'Académie Hospitality Insiders, pour vous former aux fondamentaux de l'accueilLe E-Carnet "Devenir un Artisan Hôtelier" pour celles et ceux qui souhaitent faire de l'accueil un véritable artLinkedin, pour poursuivre la discussionInstagram, pour découvrir les coulissesLa bibliothèque des invités du podcastMerci de votre fidélité et à bientôt !Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

In this episode...We reveal a new association with a National level sports officials organization, discuss a new "after action review" process for MD and RMs, and wander through the mailbag to answer more of your questions.Note: Transcriptions done by AI or other means may not be entirely accurate.  This podcast, and any transcription thereof, does not constitute an official NROI ruling.  Questions should be sent to rules@uspsa.org.

More than a century later, the sinking of the RMS Titanic sinking continues to captivate the world as one of history's most tragic and enduring disasters. In this compelling episode, Mark Gumbinger explores The Great Titanic Disaster, revisiting the events, human stories, and unanswered questions surrounding the legendary voyage. Drawing from historical research and analysis, Mark discusses the chain of decisions, circumstances, and conditions that led to the sinking of the so-called “unsinkable” ship. He examines the personal accounts of passengers and crew, the heroic acts and heartbreaking losses, and the lasting impact the tragedy had on maritime safety and public consciousness. This episode invites listeners to reflect on more than just the disaster itself. Why does the story of the Titanic continue to resonate across generations? What lessons were learned from the tragedy? And how do stories of courage, sacrifice, and survival shape our understanding of one of the most iconic events in modern history? Join us for a gripping and emotional journey into the past—where history comes alive, and where the legacy of the Titanic still echoes across time and memory.Become a supporter of this podcast: https://www.spreaker.com/podcast/the-x-zone-radio-tv-show--1078348/support.Please note that all XZBN radio and/or television shows are Copyright © REL-MAR McConnell Meda Company, Niagara, Ontario, Canada – www.rel-mar.com. For more Episodes of this show and all shows produced, broadcasted and syndicated from REL-MAR McConell Media Company and The 'X' Zone Broadcast Network and the 'X' Zone TV Channell, visit www.xzbn.net. For programming, distribution, and syndication inquiries, email programming@xzbn.net.We are proud to announce the we have launched TWATNews.com, launched in August 2025.TWATNews.com is an independent online news platform dedicated to uncovering the truth about Donald Trump and his ongoing influence in politics, business, and society. Unlike mainstream outlets that often sanitize, soften, or ignore stories that challenge Trump and his allies, TWATNews digs deeper to deliver hard-hitting articles, investigative features, and sharp commentary that mainstream media won't touch.These are stories and articles that you will not read anywhere else.Our mission is simple: to expose corruption, lies, and authoritarian tendencies while giving voice to the perspectives and evidence that are often marginalized or buried by corporate-controlled media

Le Carnet de Maxime Blot "Devenir un Artisan Hôtelier" pour 39€ seulement !Fruit de plusieurs années d'expérience sur le terrain, ce carnet signé Maxime Blot, Meilleur Ouvrier de France, offre un regard affûté sur les enjeux actuels du service hôtelier.1️⃣ Présentation de l'invité :À l'heure où un client peut tout réserver en quelques secondes depuis son smartphone… quel est encore le rôle d'un concierge ?Est-ce un métier en train de disparaître… ou au contraire l'un des derniers bastions de l'émotion dans l'hôtellerie de luxe ?Dimitri Ruiz connaît ce métier de l'intérieur. Concierge dans des établissements prestigieux, membre — puis président — des Clefs d'Or France.Nous ne nous connaissons pas personnellement, mais nous partageons le même terrain de jeu : celui de l'accueil, du service, et de l'excellence au quotidien.Aujourd'hui, nous allons creuser une question simple… mais essentielle :Le concierge est-il encore indispensable en 2026 ?2️⃣ Notes et références :▶️ Toutes les notes et références de l'épisode sont à retrouver ici.3️⃣ Le sponsor de l'épisode : MewsMews, c'est la plateforme de gestion hôtelière qui réunit tout ce dont vous avez besoin : PMS, POS, RMS, housekeeping et paiements.L'objectif ? Automatiser les tâches répétitives à faible valeur, pour que vos équipes puissent se concentrer sur ce qui compte vraiment : créer des expériences mémorables pour vos clients.Si vous souhaitez en savoir plus ou demander une démo, contactez Mews de ma part — et bénéficiez d'une offre exclusive. Rendez-vous sur mews.com !4️⃣ Chapitrage : 00:00:00 - Introduction00:02:00 - Le rôle du concierge à l'ère du numérique00:11:00 - La philosophie d'excellence et le réseau des Clés d'Or00:23:00 - Un parcours atypique : de l'Actor Studio aux Palaces00:34:00 - Briser le « plafond de verre » : la transition vers la direction00:47:00 - L'émotion comme moteur et l'anecdote du vétéran01:01:00 - Questions signaturesSi cet épisode vous a passionné, rejoignez-moi sur :L'Hebdo d'Hospitality Insiders, pour ne rien raterL'Académie Hospitality Insiders, pour vous former aux fondamentaux de l'accueilLe E-Carnet "Devenir un Artisan Hôtelier" pour celles et ceux qui souhaitent faire de l'accueil un véritable artLinkedin, pour poursuivre la discussionInstagram, pour découvrir les coulissesLa bibliothèque des invités du podcastMerci de votre fidélité et à bientôt !Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Many communities and RMs across the province are dealing with high levels of flooding, causing major damage and evacuation orders. Libby Gray, CKOM reporter, joins the show to chat about what's happening in the Watson area

In 2026, the broker who quotes first and most accurately wins the account. Today, I'm joined by Rush Feldhacker of Tabi Connect, to perform a forensic deep-dive into the Tabi Rate Management System (RMS). We are moving past the days of "checking three different tabs" to give a shipper a rate. We discuss the "Quoting Velocity" gap, how Tabi's RMS allows your team to move from manual spreadsheets to instant, data-backed pricing, and why "Precision Quoting" is the ultimate hedge against market volatility. If your team is struggling with inconsistent margins or losing bids because they're too slow to the inbox, this episode is your blueprint for a faster sales floor.   Inside this Strategic Briefing: The Quoting Velocity Gap: How a 5-minute delay in your response can tank your win rate. Forensic Pricing: Using historical data and real-time market pulses to protect your margins. The RMS Advantage: Why "All-in-One" rate management beats a fragmented tech stack. Standardizing the Sales Floor: Ensuring every rep quotes with the same level of intelligence and accuracy. Winning the RFP: Using Tabi to handle high-volume bids with enterprise-level precision.   Connect with Rush Website: https://tabiconnect.com/  Email: rush@tabiconnect.com    LinkedIn: https://www.linkedin.com/company/tabi-connect/  

Episode 6: The Red Man That CollapsedSUMMARY: This course examines a high-acuity infusion reaction, Red Man Syndrome (RMS), as it unfolds during vancomycin administration in an ICU setting. Through narrative reenactment and clinical analysis, the course helps nurses differentiate RMS from anaphylaxis, understand the underlying pathophysiology of histamine-mediated reactions, and explore the critical importance of adhering to evidence-based infusion rates. Learners will review nursing responsibilities in monitoring for adverse reactions, responding promptly, documenting accurately, and advocating for safety improvements in default infusion protocols. This podcast supports nurses in developing both technical expertise and confidence in managing high-risk medication scenarios.  ---Nurses may be able to complete an accredited CE activity featuring content from this podcast and earn CE hours provided from Elite Learning by Colibri Healthcare. For more information, click hereAlready an Elite Member? Login hereLearn more about CE Podcasts from Elite Learning by Colibri HealthcareView this podcast course on Elite LearningSeries: Medical Mysteries CE Podcast Bundle

Le Carnet de Maxime Blot "Devenir un Artisan Hôtelier" pour 39€ seulement !Fruit de plusieurs années d'expérience sur le terrain, ce carnet signé Maxime Blot, Meilleur Ouvrier de France, offre un regard affûté sur les enjeux actuels du service hôtelier.1️⃣ Présentation de l'épisode :C'est en basse saison qu'on fait son année. Et qu'on reconnaît les vrais hôteliers.C'est la conviction que je défendrai dans ce nouvel épisode.Je vais déconstruire quelques idées reçues pour vous faire réfléchir.En bonus, en fin d'épisode, je vous partage les 7 leviers pour transformer votre basse saison en période d'excellence. C'est concret, actionnable, et à télécharger gratuitement !2️⃣ Notes et références :▶️ Toutes les notes et références de l'épisode sont à retrouver ici.3️⃣ Le sponsor de l'épisode : MewsMews, c'est la plateforme de gestion hôtelière qui réunit tout ce dont vous avez besoin : PMS, POS, RMS, housekeeping et paiements.L'objectif ? Automatiser les tâches répétitives à faible valeur, pour que vos équipes puissent se concentrer sur ce qui compte vraiment : créer des expériences mémorables pour vos clients.Si vous souhaitez en savoir plus ou demander une démo, contactez Mews de ma part — et bénéficiez d'une offre exclusive. Rendez-vous sur mews.com !4️⃣ Chapitrage : 00:00:00 - Introduction00:02:00 - La philosophie de la basse saison : Là où se gagne l'année00:04:00 - Le levier des Ressources Humaines et de l'excellence opérationnelle00:07:00 - Le marketing et l'expérience client comme « laboratoire »00:09:00 - Le pilotage stratégique et la boîte à outils00:11:00 - ConclusionSi cet épisode vous a passionné, rejoignez-moi sur :L'Hebdo d'Hospitality Insiders, pour ne rien raterL'Académie Hospitality Insiders, pour vous former aux fondamentaux de l'accueilLe E-Carnet "Devenir un Artisan Hôtelier" pour celles et ceux qui souhaitent faire de l'accueil un véritable artLinkedin, pour poursuivre la discussionInstagram, pour découvrir les coulissesLa bibliothèque des invités du podcastMerci de votre fidélité et à bientôt !Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Le Carnet de Maxime Blot "Devenir un Artisan Hôtelier" pour 39€ seulement !Fruit de plusieurs années d'expérience sur le terrain, ce carnet signé Maxime Blot, Meilleur Ouvrier de France, offre un regard affûté sur les enjeux actuels du service hôtelier.1️⃣ Présentation de l'invitée :Certains titres marquent une carrière.Et d'autres qui marquent toute une profession.En 2015, Claire Dupleix devient la première Meilleur Ouvrier de France dans la catégorie réceptionniste en hôtellerie.Un moment historique pour un métier trop longtemps discret, mais absolument central dans l'expérience client : la réception.Dix ans ont passé depuis ce concours.Entre-temps, Claire a continué son parcours, pris de nouvelles responsabilités… et est aussi devenue maman.Alors qu'est-ce que cela change vraiment d'être la première MOF réceptionniste ?Que reste-t-il de cette aventure dix ans après ?Que dirait-elle aujourd'hui à celles et ceux qui rêvent de suivre ce chemin ?Toutes les réponses sont à retrouver dans notre conversation.2️⃣ Notes et références :▶️ Toutes les notes et références de l'épisode sont à retrouver ici.3️⃣ Le sponsor de l'épisode : MewsMews, c'est la plateforme de gestion hôtelière qui réunit tout ce dont vous avez besoin : PMS, POS, RMS, housekeeping et paiements.L'objectif ? Automatiser les tâches répétitives à faible valeur, pour que vos équipes puissent se concentrer sur ce qui compte vraiment : créer des expériences mémorables pour vos clients.Si vous souhaitez en savoir plus ou demander une démo, contactez Mews de ma part — et bénéficiez d'une offre exclusive. Rendez-vous sur mews.com !4️⃣ Chapitrage : 00:00:00 - Introduction00:02:00 - Le regard sur l'aventure MOF, 10 ans après00:08:00 - L'évolution et l'excellence du métier de réceptionniste00:15:00 - Conseils de préparation et vision de carrière00:23:00 - La diversité des parcours : de la réception aux étages00:32:00 - L'équilibre "MOF et MOM" : Concilier carrière et maternité00:40:00 - Questions signaturesSi cet épisode vous a passionné, rejoignez-moi sur :L'Hebdo d'Hospitality Insiders, pour ne rien raterL'Académie Hospitality Insiders, pour vous former aux fondamentaux de l'accueilLe E-Carnet "Devenir un Artisan Hôtelier" pour celles et ceux qui souhaitent faire de l'accueil un véritable artLinkedin, pour poursuivre la discussionInstagram, pour découvrir les coulissesLa bibliothèque des invités du podcastMerci de votre fidélité et à bientôt !Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Le Carnet de Maxime Blot "Devenir un Artisan Hôtelier" pour 39€ seulement !Fruit de plusieurs années d'expérience sur le terrain, ce carnet signé Maxime Blot, Meilleur Ouvrier de France, offre un regard affûté sur les enjeux actuels du service hôtelier.1️⃣ Présentation de l'épisode :Vous pouvez avoir les meilleurs talents du monde… et pourtant offrir une expérience client moyenne.Aujourd'hui, je vous partage les coulisses du monde de l'hospitalité.Comprendre pourquoi le CHR est un sport d'équipeDes clés pour réfléchir en écosystèmeEn bonus, en fin d'épisode, je vous partage les 7 questions à se poser pour auditer votre hospitalité !2️⃣ Notes et références :▶️ Toutes les notes et références de l'épisode sont à retrouver ici.3️⃣ Le sponsor de l'épisode : MewsMews, c'est la plateforme de gestion hôtelière qui réunit tout ce dont vous avez besoin : PMS, POS, RMS, housekeeping et paiements.L'objectif ? Automatiser les tâches répétitives à faible valeur, pour que vos équipes puissent se concentrer sur ce qui compte vraiment : créer des expériences mémorables pour vos clients.Si vous souhaitez en savoir plus ou demander une démo, contactez Mews de ma part — et bénéficiez d'une offre exclusive. Rendez-vous sur mews.com !4️⃣ Chapitrage : 00:00:00 - Introduction00:02:00 - L'identification des problèmes liés à l'organisation en silos00:06:00 - Les pistes de solutions pour raisonner en écosystème00:13:00 - L'audit de l'hospitalité00:17:00 - ConclusionSi cet épisode vous a passionné, rejoignez-moi sur :L'Hebdo d'Hospitality Insiders, pour ne rien raterL'Académie Hospitality Insiders, pour vous former aux fondamentaux de l'accueilLe E-Carnet "Devenir un Artisan Hôtelier" pour celles et ceux qui souhaitent faire de l'accueil un véritable artLinkedin, pour poursuivre la discussionInstagram, pour découvrir les coulissesLa bibliothèque des invités du podcastMerci de votre fidélité et à bientôt !Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

This show has been flagged as Clean by the host. Basic-Filtering 01 Introduction This is the second episode in a four part series on a simple way to create your own HPR podcast episode. 02 This episode will cover the following topics: Basic filtering.. De-essing to improve voice quality. And normalizing to adjust audio levels for easier reviewing. 03 Filtering is removing unwanted noise from an audio signal. There are several ways of doing this. It is possible to do this with Audacity, but I don't know how so I won't try to describe that method. It is possible however to filter using command line tools such as FFMPEG and Sox. When assembled into shell scripts, these tools can become part of an automated process that you can use over and over again for each HPR episode that you record. 04 In a later episode I will discuss how to analyze audio signals to find the sources of noise that can be reduced or eliminated with filters. In this episode however I will discuss basic filtering that you can apply routinely without doing any analysis beforehand. 05 Sources of Noise A question that you may have is "why is there noise in the recording?" There are many sources of undesirable noise. 06 A very common one that you may not be aware of is electrical noise that works its way into the electronic recording circuits and is imperceptible to you until you play back the recorded audio. The most common noise signal is what is commonly called "line noise" and is a low frequency hum at 50 or 60 Hz from the electric power lines and reflects the 50 or 60 Hz frequency of the AC power lines feeding your recording hardware. 07 You may be familiar with this low frequency hum from when it emanates from large electrical hardware such as transformers as it makes the laminations vibrate. However, it can also work its way indirectly into electronic equipment as well. Good quality audio hardware may filter all or most of this out, but it is present in a lot of consumer grade hardware. 08 Other sources of electrical noise may reflect specific problems in your recording hardware. I will discuss one such problem with my microphone that I had to address. Still other sources of noise may reflect actual physical audio noise around you, such as fans. Placing the microphone close to your face will help in dealing with a lot of these problems, but you may find filtering to be of some help here as well. 09 Audio Frequency Range Let's start with some basics. A good quality stereo of the type you may have at home is typically rated to perform between 20 Hz and 20 kHz. This is the widest possible range that we need to consider. In reality, this is a far wider range than is needed for a voice oriented podcast. It is also well beyond the range of the hardware that many of your listeners will be using to listen to the podcast. 10 For example, the speakers that I have connected to my PC and a number of headphones and earphones that I have tested drop off drastically below 80 Hz or above 8 kHz, or even above 6 kHz in many cases. This is not audiophile quality hardware, but it is representative of the sort of hardware that a lot of your listeners will be using when listening to podcasts. And to be honest here, a lot of people will have difficulty hearing anything above 8 kHz even with the best quality audio hardware due to hearing loss from environmental noise exposure or age. 11 You can get a good idea of what different frequencies sound like by generating sine waves using either FFMPEG or Sox. Here's an example of generating a 1 kHz sine wave using FFMPEG. A copy of this will be in the show notes. ffmpeg -f lavfi -i "sine=frequency=1000:sample_rate=44100:duration=3" 01000hz.flac This creates a sine wave at 1 kHz and at a sample rate of 44.1 kHz for a duration of 3 seconds and saves it to a flac file named 01000hz.flac 12 Here's the same using Sox. sox -n -r 44100 -b 16 01000hz.flac synth 3 sine 1000 The -b 16 specifies using 16 bit audio to encode it, and the "sine 1000" element specifies the frequency in hertz. 13 You can test this out at different frequencies to get a feel for how your hardware responds. What the effective limits on typical hardware audio range means is that we can quite safely filter out a large part of what is considered to be the "audio range" without any noticeable loss of quality. For the purposes of our discussion here then I will limit the frequency range to between 80 Hz and 12 kHz, and that is being generous. You can probably narrow that, particularly at the top end, without any problems. 14 At the low end, the typical rule of thumb recommended by most people seems to be that for the average male voice you can set the lower threshold at 80 Hz, and for the average female you can set it at 160 Hz. Note that you don't *have* to set the threshold higher for a female. Rather, it is just that you typically *can* set it higher if you wish. Note also that these are averages, and may not reflect an actual individual. 15 Simple Filters We will now create some simple filters using the same command line software mentioned in a previous episode in this series. These are FFMPEG and Sox. 16 First let's define some terminology. A high pass filter passes through frequencies which fall above a certain threshold and blocks frequencies which are below that frequency. A low pass filter passes through frequencies which fall below a certain threshold and blocks frequencies which are above that frequency. 17 In reality there isn't an abrupt cut-off in the filters. Instead there is a gradual roll off or sloping off of amplitude below or above the specified filter frequency. This is for two reasons. One is that if there was an abrupt cut off then it would risk introducing audible distortion in the signal for frequencies on the margin. 18 The other reason is that this is how hardware filters traditionally inherently worked when they were made out of electronic components such as resistors, capacitors, and inductors. The sharpness of this cut off can be adjusted, but we won't be fiddling with it in that sort of detail. You will sometimes see filters specified in terms of "poles". This has to do with describing how filters were constructed using electronic components. Don't worry about it, it doesn't really matter. 19 Here is a typical high pass filter using ffmpeg which filters out frequencies below 80 hertz. # High pass filter. ffmpeg -i inputfile.flac -af "highpass=f=80" outputfile.flac Here is a typical low pass filter using ffmpeg which filters out frequencies above 12 kHz. # Low pass filter. ffmpeg -i inputfile.flac -af "lowpass=f=12000" outputfile.flac 20 Here is a filter which combines the two. # Combined filters. ffmpeg -i inputfile.flac -af "highpass=f=80, lowpass=f=12000" outputfile.flac And here is the same thing using Sox. sox inputfile.flac outputfile.flac highpass 80 lowpass 12000 21 Filtering Out Specific Frequencies Recall that I mentioned that a common source of noise is the 50 or 60 Hz AC power line frequency working its way through the electronics of your recording device. Because filters operate gradually and the 80 Hz lower filter threshold is close to 60 Hz, the high pass filter may not deal with this adequately. 22 Now it happens that your listeners may not be able to hear this 50 or 60 Hz noise anyway because their audio hardware won't reproduce it. That by the way includes you not being able to hear it either when you review your recording before uploading it. However, there may be some HPR listeners who are sitting back sipping a glass of wine and listening to your episode on their stereo and who can hear it. That suggests that we ought to do something about it just in case. 23 I will get into how to analyze audio signals in a later episode, but for now just accept that I looked at the frequency spectrum of a sample recording using my hardware and found a large 60 Hz noise spike which I wanted to address. 24 Experimenting with additional high pass frequencies up to 120 Hz did not improve things much with respect to the 60 Hz problem. There are other parameters which could be tweaked, but at this point it would seem most promising to attack the 60 Hz spike problem directly using a different filter method. To deal with the this 60 Hz spike we can use a "band reject" filter, which removes a specific band of frequencies. We will use this in combination with the filtering that we have already done above. 25 After a small amount of experimenting I came up with the following. I also added in a 50 Hz filter while I was at it, for the benefit of those living in areas with 50 Hz electrical supply. These filters will be included in the show notes, so don't worry if you can't quite understand all the details from a verbal description. 26 Here's the FFMPEG version. # Using ffmpeg ffmpeg -i input.flac -af "highpass=f=80, lowpass=f=12000, bandreject=f=60:width_type=h:w=20, bandreject=f=50:width_type=h:w=20" output.flac 27 This as the following elements A high pass filter at 80 Hz, A low pass filter at 12 kHz, A band reject filter centred at 60 Hz and with a width of 20 hertz. A similar band reject filter centred at 50 Hz. 28 Here's the Sox version. # Sox version. sox input.flac output.flac highpass 80 lowpass 12000 bandreject 60 20 bandreject 50 20 Note that with sox, don't quote the filter definition strings or else it will result in an error as sox doesn't see enough parameters. This is not a problem with ffmpeg. 29 The band reject filter knocks the stuffing out of the 60 Hz line noise, and the 50 Hz parameter should do the same for that frequency as well. This basic filter should be able to be applied to any podcast audio recording without causing any problems. You can probably reduce the low pass frequency from 12 kHz down to 8 kHz without any problems, but I would suggest that you test it with your voice before making that decision. 30 I will come back to filtering out specific frequencies again later when I discuss how I solved a specific problem with the hardware that I am using. However, we have to discuss how to analyze audio signals before we can do that sort of technical troubleshooting, and I will cover that in a later episode. -------------------- 31 De-Essing An additional type of filtering is "de-essing". When recording audio, the microphone or environment may result in "s", "sh", "ch" and possibly other sounds to be exaggerated. These are all higher frequency elements of voice recordings. "De-essing" attempts to soften these sounds by selectively reducing the volume on the frequency band which contains these sounds. 32 Software Filters De-essing is accomplished via software filters. FFMPEG and Sox both have de-essing filters. For FFMPEG, the de-essing filter is built in. For Sox however, we must install an optional plug-in. I will cover this is more detail when I discuss using Sox for de-essing. 33 Do You Need De-Essing? The first thing to make clear however, is that you may not need to worry about this. If you think the audio sounds just fine the way it is, you don't need to do any de-essing to it. De-essing is a very subtle change, and you would probably need to do some careful before and after comparisons of audio samples to tell the difference. I didn't know that a thing called de-essing even existed before I started doing the research to make this podcast episode. However, at this point we are doing things more for fun than out of necessity, so I'll describe it anyway. 34 De-Essing with FFMPEG De-essing with FFMPEG is relatively simple. The filter is built in, and there are just three values to adjust. On the other hand, it is not really obvious what these values mean in practical terms. 35 I will however warn you to not rely on the AI search results from Google to understand this feature. The AI, in my experience, just makes stuff up about it and tells you to use options that don't exist and values that are not valid. I found that the only useful information came from FFMPEG's own web site, and from examples written by actual humans. 36 I then experimented with different values to see what effects they had. Since the results are rather subtle, fine tuning isn't really that necessary and I found that I could arrive at some reasonable values fairly quickly. I will provide the parameters that I found useful for me, and I suspect they would probably work for you as well. 37 Here is a typical de-essing command. ffmpeg -i inputfile.flac -filter_complex "deesser=i=0.5:m=0.5:f=0.5:s=o" -b:a 336k -sample_fmt s16 outputfile.flac 38 The important arguments are i, m, and f. i is intensity for triggering de-essing. The allowed range is 0 to 1. The default is 0. By experimentation I found that "0" means no de-essing, and "1" is maximum de-essing. I found that setting it to "0.5" gave satisfactory results. 39 m is the amount of "ducking on the treble part of sound". The allowed range is 0 to 1. The default is 0.5. By experimentation I found that "1" means no de-essing, and "0" is maximum de-essing. I found that setting it to "0.5" gave satisfactory results. 40 f is how much of the original frequency content to keep when de-essing. The allowed range is 0 to 1. The default is 0.5. By experimentation I found that "1" means no de-essing, and "0" is maximum de-essing. I found that setting it to "0.5" gave satisfactory results. 41 Setting "m" or "f" too high can result in a distorted output as too much of the original sound is cut out. The defaults of 0.5 in both cases gave audible improvements without noticeable distortion. 42 There is an additional parameter called "s". This controls whether the de-essing filter does anything. Setting it to "o" is the normal and default mode. Setting it to "e" causes it to output just the components that it would normally have filtered out. This is useful for testing purposes so you can see what and how much is being filtered. You only use this when experimenting with different values. Setting it to "i" causes the input to be passed through without de-essing. This would be useful in scripts where you want to use a variable to control whether or not to use the de-esser while still creating the expected output file. 43 There are two other elements of the command which were included but are not strictly speaking part of the de-essing filter itself . These are " -b:a 336k" and "-sample_fmt s16". " -b:a 336k" sets the audio bit rate to 336k. "-sample_fmt s16" sets the audio sample format to 16 bit. I found it necessary to specify these in order to prevent the de-essing filter from changing formats. They are not part of de-essing however. 44 De-Essing with Sox You can also de-ess with Sox. However, this is more complex for several reasons. One reason is that Sox does not have its own de-essing filters. Instead it uses optional plug-ins, and you must find and install these. The actual plug in may vary depending on what operating system you are using. The other reason is that it deals with the issue in fairly low level parameters, and so is a bit more complex to describe. Because of this I will skip over describing this in detail and just give a very brief overview. If anyone would like me to describe in more detail how to de-ess with Sox, then send in a comment and I will do a short episode on it later. 45 Sox De-Essing Overview To de-ess with Sox, you first need to install the plug-ins. On Linux, these will be the TAP ladspa plug-ins. TAP stands for "Tom's Audio Processing" plugins. ladspa stands for "Linux Audio Developer's Simple Plugin API" To install the TAP plugins on Ubuntu, using the following command. sudo apt install tap-plugins The plug-in we need is called "tap_deesser.so". 46 In order to use the plug-ins, you need to set the path as a variable. On Ubuntu this is. export LADSPA_PATH="/usr/lib/ladspa:" I put the above in the shell script which calls the Sox de-esser. 47 To use the Sox de-esser, you do the following: sox inputfile.flac outputfile.flac ladspa tap_deesser tap_deesser -30 4500 48 tap_deesser tap_deesser tells it which plugin to use. We need to state tap_deesser twice because the first is the name of the ".so" file and the second is the name of the plugin. A single "so" file can contain multiple filters, although in this case there is only one. -30 is the threshold in dB at which to start to apply the filter. 4500 is the frequency in Hz that the filter centres around. 49 The TAP web page has a table of recommended frequencies. These are: Male 'ess' 4500 Hz Male 'ssh' 3400 Hz Female 'ess' 6800 Hz Female 'ssh' 5100 Hz You will need to do some trial and error to find what works best for you. 50 De-Essing Summary De-essing can be used to make minor improvements to voice quality by reducing certain harsh sounds which may be exaggerated by a microphone. If it sounds like a lot of work you can probably simply not bother with it and not really miss it. -------------------- 51 Normalizing Normalizing a signal means adjusting it to meet a specified level. For audio it means adjusting the volume or sound level. You may wish to normalize the audio of your recording to make it easier to listen to when reviewing it. The copy that you send to HPR however should be the original un-normalized version. 52 Sound level is measured in two ways, dB and LUFS. The latter is a more sophisticated way of measuring things which takes into account how the human ear perceives loudness. I won't go into a lot of detail in that regards, other than to say that just accept LUFS as a unit of perceived loudness that is the international standard. LUFS stands for "Loudness Units referenced to Full Scale", and is part of the EBU R128 standard, where EBU stands for European Broadcast Union. In both cases the measured value is a negative number, with numbers smaller in magnitude being louder. Smaller in magnitude means closer to zero. 53 HPR will adjust the sound level for publication, but if you wish to check the audio before uploading it can help to adjust it to something close to what HPR will do so that you can listen to it at a volume which most listeners will hear. In my case full volume on the audio system input produced a sound level which was much lower than a typical HPR episode. However, the volume level in the flac file itself can be adjusted using ffmpeg. 54 Measuring Volume Level First we need to see what the volume level is for a typical HPR podcast. To do this we use ffmpeg. In this example we are using an episode named "hprpodcast.mp3". Pick an episode which you think is suitable and copy the file to the working directory. 55 In the following script we use a volumedetect filter. The text we want normally outputs to standard error, so we have to do a bit of bashery to redirect this to standard output so it will go through a pipe. We then grep for the string "I:". This will have the average volume level in "loudness units" (LUFS). Then we extract the number, giving us a target LUFS level. 56 ffmpeg -i hprpodcast.mp3 -filter:a ebur128=framelog=quiet -f null /dev/null 2>&1 | grep "I:" | cut -d: -f2 57 Unfortunately I can't find a Sox feature which handles EBU loudness, so we need to work in dB instead. Here is the sox version. However, note that this may not work on mp3s if sox mp3 handing is not installed. 58 sox hprpodcast.mp3 -n stats 2>&1 | grep "RMS lev dB" | rev | cut -d" " -f1 | rev 59 You can use either of these for measuring the volume or sound level of an audio file. However, note that individual episodes from HPR may vary a bit in terms of loudness. In the samples that I looked at, this however was less than 1 LUFS or dB while my own recording was roughly 5 LUFS lower in volume than a typical HPR episode. -------------------- 60 If you Google for the EBU R128 standard the AI result will confidently tell you to use a target of -23 LUFS. However, this is wrong, which shouldn't be of any surprise if you are familiar with using AI. 61 The -23 LUFS figure is for broadcast television. There is in fact no standard level for podcasts. However, there is apparently a general industry convention of using somewhere around -17 LUFS. If I look at the first two HPR episodes that I did, HPR normalized them to -16.8 LUFS and -17.8 LUFS, while the original FLAC files that I submitted were -21.6 LUFS and -22.3 LUFS respectively. 62 So HRP appear to be targeting somewhere around -17 LUFS as well. We will therefore use -17 LUFS as our target for our own copy for review. -------------------- 63 The nice thing about using the EBU filter in FFMPEG is that this is very simple. Here is the FFMPEG version. 64 ffmpeg -i inputfile.flac -af loudnorm=I=-17:TP=-2.0:LRA=7.0 -ar 44.1k outputfile.flac 65 "I" is the LUFS target. LRA is the loudness range target. The default value is 7.0 so I used that. TP sets the maximum true peak. The default value is -2.0. so I used that. -------------------- 66 With Sox things are a bit more difficult. There is no direct method of setting the loudness that I am aware of, so we need to measure the current sound level in dB, do some calculations, and then apply that as a gain factor to the output. 67 First we need to subtract the measured db level from our flac file from the target db level from the HPR episode we decided to use as a sample. Bash by itself normally just does integer math. However, we would like to have at least one decimal point of resolution to work with. The simple solution is to do this calculation using bc, the shell arbitrary precision calculator. 68 Then take this new value and use it in a "volume" filter. The number which we give sox is the amount to increase or decrease the volume by. Sox will then output a new file with the new volume level. You can now listen to this file under conditions more closely approximating what it will be like after HPR have done their own audio adjustments and normalizaton on it This helps when listening to the file for any problems before you upload it. 69 Rather than reading 5 lines of complex shell script to you, I will put a copy of it in the show notes. level=$( sox $inputfile -n stats 2>&1 | grep "RMS lev dB" ) leveldb=$( echo "$level" | rev | cut -d" " -f1 | rev ) targetdb="-18.9" volumechange=$(echo "scale=2 ; $targetdb - $leveldb" | bc ) sox $inputfile $outputname gain "$volumechange" -------------------- 70 Normalization should be the last thing you do to the file. It should be done after any noise filtering, such as low pass, high pass, bandreject, etc. If you normalize first, you will be amplifying the noise as well as the desired signal. 71 The exact normalization level used for review purposes doesn't matter, as HPR will apply their own later. All we are doing at this point is adjusting the volume to something which approximates a normal episode so you can listen to it for final review. 72 When you send your file to HPR, send the original *unnormalized* version, not the normalized version. When you normalize an audio signal, if you are not careful you may introduce things which cause problems with later additional processing. HPR probably do more things to the audio than just normalizing and so they need the unnormalized file so that they can do their own normalizing last. -------------------- 73 If at this point you are happy with the recording as is, you are ready to send the *unnormalized* version to HPR. The scripts to implement the features discussed in this episode will be in the show notes. 74 Conclusion In this episode we covered basic filtering using ffmpeg and sox. We discussed what noise was and some of the origins of noise. We talked about the audio frequency range and the limitations of common hardware used to record and listen to podcasts. We covered basic high and low pass filters used to limit the audio frequency range in order to remove possible low and high frequency noise. 75 We discussed specific filters to eliminate 50 and 60 Hz electrical power noise. We talked about de-essing, what it was, why you may wish to use it, and some basic de-essing filter implementation details. We discussed normalizing, what it is, why you may wish to use it, and how it relates to podcasting conventions. 76 In the next episode we will discuss analyzing audio signals to help find the sources of noise problems. We will also discuss creating filters to eliminate any problems that we found. In my case I had a problem with the microphone that I use, and I describe how I used filters to deal with that problem. 77 This has been the second episode in a four part series on simple podcasting. -------------------- EBU R128 Loudness Measurement using FFMPEG #!/bin/bash echo "EBU r128 loudness measurement using FFMPEG" for inputfile in *.flac *.mp3 ; do level=$( ffmpeg -i $inputfile -filter:a ebur128=framelog=quiet -f null /dev/null 2>&1 | grep "I:" | cut -d: -f2 ) echo $inputfile $level done -------------------- DB Sound Level Measurement using Sox #!/bin/bash # Sox version. May not work for mp3 if an mp3 format handling is not installed. echo "dB sound level measurement using Sox." for inputfile in *.flac *.mp3 ; do level=$( sox $inputfile -n stats 2>&1 | grep "RMS lev dB" ) leveldb=$( echo "$level" | rev | cut -d" " -f1 | rev ) echo $inputfile $leveldb done -------------------- EBU R128 Loudness Normalization using FFMPEG #!/bin/bash # Adjust the volume to a desired level. for inputfile in *.flac ; do j=$( basename $inputfile ".flac" ) outputname="$j""-normff.flac" ffmpeg -i $inputfile -af loudnorm=I=-17:TP=-2.0:LRA=4.0 -ar 44.1k $outputname echo $outputname done -------------------- DB Sound Level Normalization using Sox #!/bin/bash # Adjust the volume to a desired level. for inputfile in *.flac ; do j=$( basename $inputfile ".flac" ) outputname="$j""-normff.flac" # Measure the volume level and extract the mean volume. level=$( sox $inputfile -n stats 2>&1 | grep "RMS lev dB" ) leveldb=$( echo "$level" | rev | cut -d" " -f1 | rev ) # Calculate the difference in dB desired. Scale specifies the number of decimal places. # Target db is the volume measured on hpr4506 (UCSD-P-System). targetdb="-18.9" volumechange=$(echo "scale=2 ; $targetdb - $leveldb" | bc ) echo "Using sox: File: $inputfile Original level: $leveldb Change by: $volumechange" # Adjust the volume. sox $inputfile $outputname gain "$volumechange" done -------------------- Full processing pipeline for making simple podcasts using FFMPEG #!/bin/bash #!/bin/bash # Full processing pipeline for making simple podcasts. # ====================================================================== # Concatenate multiple flac files into a single flac file. # This is used to combine podcast recorded segments into a single # flac file for uploading to HPR. concataudio () { outputname="$1" # First create the list file. printf "file '%s'n" [0-9][0-9].flac > podseglist.txt # Now concatenate them ffmpeg -f concat -safe 0 -i podseglist.txt "$outputname" rm podseglist.txt } # ====================================================================== # Basic filters. filter () { inputfile=$1 outputname=$2 # Using ffmpeg. # The high and low pass filters. hlpfil="highpass=f=80, lowpass=f=12000" # Band reject filters filter for 60Hz and another for 50Hz. linefil="bandreject=f=60:width_type=h:w=20, bandreject=f=50:width_type=h:w=20" # Using ffmpeg ffmpeg -i $inputfile -af "$hlpfil, $linefil" $outputname } # ====================================================================== # De-Essing. deessing () { inputfile=$1 outputname=$2 option=$3 # De-essing filter. ffmpeg -i $inputfile -filter_complex "deesser=i=0.5:m=0.5:f=0.5:s=$option" -b:a 336k -sample_fmt s16 $outputname } # ====================================================================== # Normalizing the audio to EBU R128 standard for review using ffmpeg. normffmpeg () { inputfile=$1 outputname=$2 # Normalize to EBU R128 standard. ffmpeg -i $inputfile -af loudnorm=I=-17:TP=-2.0:LRA=4.0 -ar 44.1k $outputname } # ====================================================================== # Output an MP3 version to help with reviewing. mp3convert () { inputfile=$1 # Get the name of the file and then create the output file name. j=$( basename $inputfile ".flac" ) outputname="$j"".mp3" # Convert to MP3. ffmpeg -i $inputfile $outputname } # ====================================================================== # Concatenate the separate audio files. concataudio fullpod-unfiltered.flac # Basic filtering. filter fullpod-unfiltered.flac filtered.flac # De-essing. This is the version to send for publishing. # The third argument should be "o" for de-essing, or "i" for pass through without de-essing. deessing filtered.flac fullpod.flac o # Normalized for review. normffmpeg fullpod.flac fullpod-norm.flac # Output an MP3 copy for review. mp3convert fullpod-norm.flac -------------------- -------------------- Provide feedback on this episode.

RMS Measurements & Sloped Ceilings Explained | Alberta Real Estate Exam Prep How do sloped ceilings affect RMS measurements in Alberta? This is a highly tested measurement concept on the Alberta real estate licensing exam — and it can be confusing if you don't understand the two-step rule. In this video from The Alberta Real Estate School, we break down RMS height requirements clearly and simply. Here's what you must remember: Step 1: The 7-Foot Rule To include any space in Residential Measurement Standard (RMS) calculations, there must be at least 7 feet of ceiling height somewhere in the room. If the ceiling is flat, this means it's 7 feet throughout. Step 2: The 5-Foot Rule for Sloped Ceilings If the ceiling is sloped: • There must still be at least one area that reaches 7 feet • You may only include floor area where the ceiling height is 5 feet or higher • Any area below 5 feet is excluded from RMS measurements So in an attic-style room with sloped ceilings: You measure from where the ceiling reaches 7 feet and include space down to where it drops to 5 feet. Anything below 5 feet does not count toward RMS square footage. This topic is critical for: • Practice of Residential Real Estate • Alberta real estate licensing exams (RECA) • Measurement questions • Avoiding square footage misrepresentation • Listing accuracy Understanding RMS properly protects you legally and ensures compliance when advertising square footage. At The Alberta Real Estate School, we simplify technical exam concepts so you don't lose easy marks. Subscribe for weekly Alberta real estate exam tips and licensing breakdowns. Start your career in Real Estate today! Our courses equip you with the skills needed to pass your licensing exam in Alberta. Link in the comments.

RMS v. Commerce Bank

Le Carnet de Maxime Blot "Devenir un Artisan Hôtelier" pour 39€ seulement !Fruit de plusieurs années d'expérience sur le terrain, ce carnet signé Maxime Blot, Meilleur Ouvrier de France, offre un regard affûté sur les enjeux actuels du service hôtelier.1️⃣ Présentation de l'invité :Il y a des entrepreneurs qui cherchent à réinventer l'hôtellerie.Et puis il y a ceux qui décident simplement de mieux l'exécuter.14 hôtels ouverts en 3 ans. Plus de 120 millions d'euros levés. Une ambition affichée : 100 hôtels d'ici 2035.Derrière cette croissance rapide, il n'y a ni concept révolutionnaire, ni effet de mode. Il y a une obsession : l'excellence opérationnelle.Boris Roques Rogery est co-fondateur et Président d'Alfred Hotels. Après plus de dix ans chez Hyatt, il lance sa propre marque dans un contexte post-Covid, sur un marché déjà saturé.Dans cet épisode, nous allons parler croissance, stratégie, excellence opérationnelle et financière.2️⃣ Notes et références :▶️ Toutes les notes et références de l'épisode sont à retrouver ici.3️⃣ Le sponsor de l'épisode : MewsMews, c'est la plateforme de gestion hôtelière qui réunit tout ce dont vous avez besoin : PMS, POS, RMS, housekeeping et paiements.L'objectif ? Automatiser les tâches répétitives à faible valeur, pour que vos équipes puissent se concentrer sur ce qui compte vraiment : créer des expériences mémorables pour vos clients.Si vous souhaitez en savoir plus ou demander une démo, contactez Mews de ma part — et bénéficiez d'une offre exclusive. Rendez-vous sur mews.com !4️⃣ Chapitrage : 00:00:00 - Introduction00:02:00 - Genèse et opportunité sur le marché des 3 étoiles00:10:00 - La stratégie de marque : « Le moins mais mieux »00:19:00 - Ingénierie financière et levée de fonds00:31:00 - Modèle de croissance et vision 203500:43:00 - Excellence RH et "Orchestration" technologique01:02:00 - Questions signaturesSi cet épisode vous a passionné, rejoignez-moi sur :L'Hebdo d'Hospitality Insiders, pour ne rien raterL'Académie Hospitality Insiders, pour vous former aux fondamentaux de l'accueilLe E-Carnet "Devenir un Artisan Hôtelier" pour celles et ceux qui souhaitent faire de l'accueil un véritable artLinkedin, pour poursuivre la discussionInstagram, pour découvrir les coulissesLa bibliothèque des invités du podcastMerci de votre fidélité et à bientôt !Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

The ASX 200 jumped out of the blocks again on the ceasefire. The ASX 200 jumped 223 points to 8952 (2.6%). Interestingly, not much intraday volatility. Everything was risk on as peace breaks out. Long term or short term is yet to be seen. Oil prices fell hard, and equities rallied across the board. Banks rallied again with CBA up 1.9% and the Big Bank Basket jumped to $305.03 (2.4%). MQG had a great day up 5.6% with other financials doing great. ZIP up 19.5% and NWL up 10.0%. REITS soared as yields dropped, GMG up 7.1% and CHC up 4.0% with industrials doing well too. QAN up 9.4% and VGN up 11.7% with WES rallying 3.3% and CSL even up 1.3%. REA and tech stock jumped, WTC up 10.7% and XRO up 6.5% with the All-Tech Index up 6.6%. Defensives slipped, TLS down slightly, ORG and AGL fell with retail jumping on hopes for lower petrol prices. Resources on fire, BHP up 3.0% and RIO rallying another 4.4%. Gold miners jumped as bullion took up the baton, NST up 7.1% and EVN up 10.0% with RMS rallying 9.6%. Lithium not left out, PLS up 1.7%, LTR roaring 8.4% ahead. Rare earths up strongly, LYC up %. Oil and gas stocks fell, WDS down 10.5% and STO falling again. Coal stocks also smacked down with uranium stocks back in focus, PDN up 8.5% and LOT up 11.7%.In corporate news, DRO dropped 13.5% on news that the CEO and chair will be stepping down. BGL raced up 18.9% on production numbers as did RRL. PME also doing well following a five-year $23m contract with the University of Maryland Medical System. FLT also doing well on a deal to sell Pedal. On the economic front, dwelling commencements rose 8%.Asian markets soar, Japan up 5.4%, HK up 3.1% and China up 3.4%. Korean KOSPI up 6.9%10-year yields fall to 4.87%. US Futures jump Nasdaq up 812, Dow up 1110. Europe opening significantly better.—Marcus Today – Daily Market InsightsMarcus Today provides clear, practical commentary for self-directed investors – covering markets, portfolios, education, and decision-making without the noise.If you'd like to go further:Start a free 14-day trial of Marcus Today http://bit.ly/mt-trial-podcastJoin Marcus Today Use code MTPODCAST for 10% off http://bit.ly/mt-join-podcast-offerMT20 – Managed ETF Portfolio A professionally managed portfolio run by Marcus Padley and the team, using ASX-listed ETFs with active market timing. http://bit.ly/mt20-podcastPrinciples – How We Think About Investing A short video series on timing, behaviour, and decision-making. No stock tips. http://bit.ly/mt-principles-podcast—Disclaimer This podcast is general information only and does not consider your personal circumstances. It is not personal financial advice.

Le Carnet de Maxime Blot "Devenir un Artisan Hôtelier" pour 39€ seulement !Fruit de plusieurs années d'expérience sur le terrain, ce carnet signé Maxime Blot, Meilleur Ouvrier de France, offre un regard affûté sur les enjeux actuels du service hôtelier.1️⃣ Présentation de l'invité :Il y a encore quelques années, les produits d'accueil étaient considérés comme un simple détail. Un gel douche, un shampoing, un savon… point final.Aujourd'hui, certaines marques deviennent de véritables signatures d'expérience. Elles racontent une histoire, traduisent un positionnement, et peuvent même influencer la perception globale d'un établissement.Terre de Mars fait partie de ces marques qui ont choisi de transformer un souvenir d'enfance autour du café en une maison de cosmétiques distribuée dans des hôtels, des spas et des lieux exigeants.Hugo Montiel a travaillé chez Google, Airbnb ou encore Smartbox avant de rejoindre cette aventure entrepreneuriale.Avec lui, nous allons répondre à la question suivante : Le produit d'accueil est-il encore un détail… ou est-il devenu un levier stratégique pour les hôteliers ?2️⃣ Notes et références :▶️ Toutes les notes et références de l'épisode sont à retrouver ici.Cet épisode est produit en partenariat avec Terre de Mars. Un grand merci aux équipes pour leur collaboration et leur professionnalisme.3️⃣ Le sponsor de l'épisode : MewsMews, c'est la plateforme de gestion hôtelière qui réunit tout ce dont vous avez besoin : PMS, POS, RMS, housekeeping et paiements.L'objectif ? Automatiser les tâches répétitives à faible valeur, pour que vos équipes puissent se concentrer sur ce qui compte vraiment : créer des expériences mémorables pour vos clients.Si vous souhaitez en savoir plus ou demander une démo, contactez Mews de ma part — et bénéficiez d'une offre exclusive. Rendez-vous sur mews.com !4️⃣ Chapitrage : 00:00:00 - Introduction00:02:00 - Le produit d'accueil comme levier stratégique d'expérience00:10:00 - Méthodologie de choix et critères de sélection00:19:00 - Impact sur la perception client et le positionnement tarifaire00:27:00 - L'histoire de Terre de Mars et l'innovation par le café00:38:00 - Transition écologique (RSE) et avenir du secteur00:46:00 - Questions signaturesSi cet épisode vous a passionné, rejoignez-moi sur :L'Hebdo d'Hospitality Insiders, pour ne rien raterL'Académie Hospitality Insiders, pour vous former aux fondamentaux de l'accueilLe E-Carnet "Devenir un Artisan Hôtelier" pour celles et ceux qui souhaitent faire de l'accueil un véritable artLinkedin, pour poursuivre la discussionInstagram, pour découvrir les coulissesLa bibliothèque des invités du podcastMerci de votre fidélité et à bientôt !Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Découvrez ma formation aux fondamentaux de l'accueil, un parcours d'excellence, accessible à toutes & tous !1️⃣ Présentation de l'invité :Certaines rencontres marquent un parcours.La première fois que j'ai croisé Guillaume Gomez, c'était en Sorbonne. Le jour où j'ai reçu, moi aussi, la médaille de Meilleur Ouvrier de France.Dans cette salle chargée d'histoire, au milieu des cols bleu-blanc-rouge, il incarnait déjà quelque chose de plus grand que la cuisine : la transmission, la République, l'excellence au service du collectif.Guillaume Gomez a été chef des cuisines de l'Élysée pendant plus de vingt-cinq ans. Il a cuisiné pour quatre Présidents de la République et pour des chefs d'État du monde entier. Avant de devenir Ambassadeur de la gastronomie française.2️⃣ Notes et références :▶️ Toutes les notes et références de l'épisode sont à retrouver ici.3️⃣ Le sponsor de l'épisode : MewsMews, c'est la plateforme de gestion hôtelière qui réunit tout ce dont vous avez besoin : PMS, POS, RMS, housekeeping et paiements.L'objectif ? Automatiser les tâches répétitives à faible valeur, pour que vos équipes puissent se concentrer sur ce qui compte vraiment : créer des expériences mémorables pour vos clients.Si vous souhaitez en savoir plus ou demander une démo, contactez Mews de ma part — et bénéficiez d'une offre exclusive. Rendez-vous sur mews.com !4️⃣ Chapitrage : 00:00:00 - Introduction00:02:00 - La diplomatie culinaire au service de la France00:12:00 - Le parcours d'excellence et le titre de MOF00:24:00 - La transition vers le rôle d'Ambassadeur00:31:00 - Les défis de l'alimentation et de la souveraineté00:42:00 - Engagement personnel, transmission et passion00:53:00 - Questions signaturesSi cet épisode vous a passionné, rejoignez-moi sur :L'Hebdo d'Hospitality Insiders, pour ne rien raterL'Académie Hospitality Insiders, pour vous former aux fondamentaux de l'accueilLe E-Carnet "Devenir un Artisan Hôtelier" pour celles et ceux qui souhaitent faire de l'accueil un véritable artLinkedin, pour poursuivre la discussionInstagram, pour découvrir les coulissesLa bibliothèque des invités du podcastMerci de votre fidélité et à bientôt !Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Découvrez ma formation aux fondamentaux de l'accueil, un parcours d'excellence, accessible à toutes & tous !1️⃣ Présentation de l'invitée :Chaque jour, en France, des tonnes de nourriture parfaitement consommables sont jetées par les hôtels et les restaurants.Et, dans le même temps, la précarité alimentaire explose, notamment chez les étudiants et les publics les plus fragiles.Ce paradoxe, beaucoup le connaissent. Peu savent vraiment comment agir.Cet épisode est un peu particulier. Il s'inscrit dans le cadre du Podcasthon 2026, auquel je participe cette année pour la troisième année consécutive.Une initiative collective qui mobilise des centaines de podcasts pour mettre en lumière des associations, des causes, et surtout des solutions concrètes.J'ai découvert HopHop Food lors du salon Exp'Hotel 2025 à Bordeaux.Une association, mais surtout un modèle opérationnel, pensé pour les professionnels de l'hôtellerie-restauration.Aujourd'hui, j'ai le plaisir de recevoir Pauline Etcheto, présidente de HopHop Food.Avec elle, nous allons parler sans langue de bois de ce sujet pour lequel nous avons tous un rôle à jouer : le gaspillage alimentaire.2️⃣ Notes et références :▶️ Toutes les notes et références de l'épisode sont à retrouver ici.3️⃣ Le sponsor de l'épisode : MewsMews, c'est la plateforme de gestion hôtelière qui réunit tout ce dont vous avez besoin : PMS, POS, RMS, housekeeping et paiements.L'objectif ? Automatiser les tâches répétitives à faible valeur, pour que vos équipes puissent se concentrer sur ce qui compte vraiment : créer des expériences mémorables pour vos clients.Si vous souhaitez en savoir plus ou demander une démo, contactez Mews de ma part — et bénéficiez d'une offre exclusive. Rendez-vous sur mews.com !4️⃣ Chapitrage : 00:00:00 - Introduction00:02:00 - Le constat macro et les chiffres du gaspillage en hôtellerie00:09:00 - Le parcours de Pauline Etcheto et la genèse de HopHop Food00:17:00 - Le modèle opérationnel et technologique00:28:00 - Les avantages stratégiques et fiscaux pour les hôteliers00:46:00 - Vision d'avenir et philosophie du "bien manger"01:00:00 - Questions signaturesSi cet épisode vous a passionné, rejoignez-moi sur :L'Hebdo d'Hospitality Insiders, pour ne rien raterL'Académie Hospitality Insiders, pour vous former aux fondamentaux de l'accueilLe E-Carnet "Devenir un Artisan Hôtelier" pour celles et ceux qui souhaitent faire de l'accueil un véritable artLinkedin, pour poursuivre la discussionInstagram, pour découvrir les coulissesLa bibliothèque des invités du podcastMerci de votre fidélité et à bientôt !Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Can Gen Z become the generation that drives real change? That question framed the conference Generation of Change, organised by the Youth Council of Slovakia (RmS), which connects organisations working with young people across the country. The event also marked the closing of the international project We Are Here Together, implemented with the Ukrainian Youth Council. Focused on active citizenship, the event brought together youth and key stakeholders — from civic and state institutions to European bodies — for panel discussions and workshops on how young people can shape public policy and democratic life. To explore the goals and impact of the initiative, we spoke with RmS project coordinator Monika Krištofčáková, researcher Ema Brunovská, and Head of the European Commission Representation in Slovakia in Bratislava Peter Stano. The latest episode of Slovak Sound Check introduces essential vocabulary for talking about your home — from describing a flat or house to naming the most common rooms in Slovak.

Can Gen Z become the generation that drives real change? That question framed the conference Generation of Change, organised by the Youth Council of Slovakia (RmS), which connects organisations working with young people across the country. The event also marked the closing of the international project We Are Here Together, implemented with the Ukrainian Youth Council. Focused on active citizenship, the event brought together youth and key stakeholders — from civic and state institutions to European bodies — for panel discussions and workshops on how young people can shape public policy and democratic life. To explore the goals and impact of the initiative, we spoke with RmS project coordinator Monika Krištofčáková, researcher Ema Brunovská, and Head of the European Commission Representation in Slovakia in Bratislava Peter Stano. The latest episode of Slovak Sound Check introduces essential vocabulary for talking about your home — from describing a flat or house to naming the most common rooms in Slovak.

Découvrez ma formation aux fondamentaux de l'accueil, un parcours d'excellence, accessible à toutes & tous !1️⃣ Présentation de l'épisode :Combien d'hôteliers-restaurateurs demandent des avis… et sabotent leur image sans s'en apercevoir ?Aujourd'hui, je vous partage les meilleures pratiques autour de ce sujet essentiel.Comprendre pourquoi demander un avis est stratégiqueSavoir comment bien le demanderIdentifier ce qu'il ne faut plus jamais direEn bonus, en fin d'épisode, je vous partage les formulations qui fonctionnent pour demander un avis client !2️⃣ Notes et références :▶️ Toutes les notes et références de l'épisode sont à retrouver ici.3️⃣ Le sponsor de l'épisode : MewsMews, c'est la plateforme de gestion hôtelière qui réunit tout ce dont vous avez besoin : PMS, POS, RMS, housekeeping et paiements.L'objectif ? Automatiser les tâches répétitives à faible valeur, pour que vos équipes puissent se concentrer sur ce qui compte vraiment : créer des expériences mémorables pour vos clients.Si vous souhaitez en savoir plus ou demander une démo, contactez Mews de ma part — et bénéficiez d'une offre exclusive. Rendez-vous sur mews.com !4️⃣ Chapitrage : 00:00:00 - Introduction00:02:00 - L'avis client comme outil marketing00:05:00 - Les erreurs de formulation à éviter00:09:00 - Les trois principes fondamentaux pour demander un avis00:13:00 - Les outils et canaux de sollicitation00:16:00 - ConclusionSi cet épisode vous a passionné, rejoignez-moi sur :L'Hebdo d'Hospitality Insiders, pour ne rien raterL'Académie Hospitality Insiders, pour vous former aux fondamentaux de l'accueilLe E-Carnet "Devenir un Artisan Hôtelier" pour celles et ceux qui souhaitent faire de l'accueil un véritable artLinkedin, pour poursuivre la discussionInstagram, pour découvrir les coulissesLa bibliothèque des invités du podcastMerci de votre fidélité et à bientôt !Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

The SARM Annual Convention and Trade Show wraps up today. The event comes at a crucial time, while RMs are dealing with a number of challenges like SaskPower hikes, emergency response time and rural safety. Bill Huber, president of the Saskatchewan Association of Rural Municipalities (SARM), joins the show to recap the event and discuss what improvements SARM would like to see.

The SARM Annual Convention and Trade Show wraps up today. The event comes at a crucial time, while RMs are dealing with a number of challenges like SaskPower hikes, emergency response time and rural safety. Bill Huber, president of the Saskatchewan Association of Rural Municipalities (SARM), joins the show to recap the event and discuss what improvements SARM would like to see.

Here on The LDS Mission Podcast, Episode 245 – A Leadership Framework, we explore what Christlike leadership really looks like on the mission and in everyday life. In this episode, I share a simple but powerful framework that has been on my mind ever since a stake leadership training: identity before instruction, worth before correction, and belonging before belief. Whether you're a district leader, sister training leader, zone leader, trainer, missionary companion, returned missionary, or missionary mama, this leadership mindset will change the way you approach growth, correction, testimony building, and influence. We talk about how our "lower brain" reacts when we lead with instruction, correction, or pressure to believe before someone feels secure in their identity as a child of God. I break down how identity stabilizes a person, worth secures the heart, and belonging calms the brain so that real transformation can happen. Using examples from missionary life—training a greenie, working through obedience struggles, supporting homesick missionaries, helping RMs navigate awkward transitions—I show how this order creates emotional safety, deeper testimony, and lasting growth. If you want to lead like Jesus Christ—with love, calm confidence, compassion, and clarity—this episode will give you a practical leadership framework you can apply immediately in your companionship, district, ward, or home. Episode 245 – A Leadership Framework will help you anchor identity, restore worth, create belonging, and lead in a way that truly transforms hearts.  As always, if you found this episode helpful, I want to invite you to subscribe if you aren't already, share this episode with your friends and missionaries you know, and write a review. I know this work will help LDS missionaries around the world and it would mean so much to me if you did. Until next week my friends.   Website | Instagram | Facebook   5 Ways to Process Any Less-Than Happy Mission Memories Article: HERE   Get the Full Show Notes and Text/PDF Transcripts: HERE   Free PDF Download:  Podcast Roadmap   Free PDF Download:  Preparing Missionary Cheat Sheet   Free Training for Preparing Missionaries:  Change Your Mission with this One Tool   RM Transition Free Video Series:  3 Tools to Help RMs in Their Transition Home   Free Guide:  5 Tips to Help Any Returning Missionary   Schedule a Free Strategy Call:   Click Here

The controversies surrounding the Winnipeg Metropolitan Region board continued this week after a sixth rural municipality, Springfield, voted to depart the group. In Episode 4, Councillor Mark Miller elaborates on their reasons, which echoed complaints that derailed the WMR's previous Plan20-50 development blueprint.This interview supplements our column in today's Winnipeg Sun - RM of Springfield exits WMR6.10 Part 2- Ward 3 councillor Mark Miller describes the district of 16,000 residents which includes the towns of Oakbank, Dugald and Anola. It's a rural setting east of Winnipeg with many commuting to the city for work and appointments. He explains how Plan20-50 was set up to allow Winnipeg to "dominate" development planning with a veto that undermines local autonomy. After being ordered back to the drawing board, that hasn't changed."We can breathe a sigh of relief to get out of this bad situation," Miller says, calling it "a horrendous horrible exercise" that cost his RM over $130K. While WMR defenders smeared opposition concerns, "It wasn't misinformation - you were providing accurate information... they did not consult. I'm thankful you were on top of this from Day One."He actually attended to the single Plan20-50 open house the WMR staged in Winnipeg in 2024, held on a weekday when "most of us are working stiffs" and couldn't go."I was disgusted, " Miller states. "They weren't catering to the citizen who is most affected in the rural municipalities... maybe it was strategy that they don't want the public to be involved" 23.23 Part 3- While Springfield will go back to the residents before any vote to re-join the WMR, residents of Winnipeg have had no say whatsoever on remaining in the organization, let alone be able to find out if taxpayers are getting value for their dollars."The hemorrhaging is continuing, and there could probably be more," Miller predicts, as other RMs determine "there's nothing for us. "27.10- The schedule for preparing a new regional plan runs concurrent to the fall municipal elections, which Miller agrees means support for the WMR can become an campaign issue.- "If our Mayor runs that he is for it, I can assure you his vote count will go way down because our residents don't want it. "- "The whole process was flawed and continues to be flawed if they don't consult with the public directly... it isn't an expensive exercise, don't tell me it's too expensive."- "I will not vote for anything that allows the City of Winnipeg to have veto power."At the council meeting before the vote, Mayor Patrick Therrien revealed “The City of Winnipeg will be looking to expand its boundaries in the very near future." Miller asks, "Does he know something we don't?... if that's the case are they just going to take parts of West St. Paul and Springfield and MacDonald or Headingley?... If that's their subtle agenda then we ought to be really cautious about this."*****OUR RECENT COLUMNS IN THE WINNIPEG SUNTop cop silent on drug siteExcuses for ridership decline fails to fool Transit usersTO DONATE TO THE SEASON 7 FUNDING DRIVE, EMAIL MARTYGOLDLIVE@GMAIL.COM

How Did Michael Jackson's $98,000 Console Inspire the Ultimate Studio Compressor? What happens when missile-grade engineering meets music? Get access to FREE mixing mini-course: https://MixMasterBundle.com Bill Cheney of Spectra 1964 joins me to reveal how a company born from aerospace tech became the secret sauce behind Stax, Ardent, and The Record Plant - and how that same precision lives on in Spectra's modern C610, STX mic pres, and new designs shaping today's studios. Bill shares the incredible story of the $98,000 Spectra console built for Michael Jackson, how John Lennon, Elton John, ZZ Top, and others tracked through Spectra desks, and why their gear still defines headroom and musical accuracy sixty years later. We dig into RMS vs peak clipping, console restoration, plugin modeling with Chad Blake, and what makes Spectra's circuits run ice cold while sounding hot as hell. If you've ever wondered why the most musical recordings in history still sound so alive, this episode takes you inside the circuits that made it possible.     THANKS TO OUR SPONSORS! http://UltimateMixingMasterclass.com https://usa.sae.edu/ https://www.izotope.com Use code ROCK10 to get 10% off! https://www.native-instruments.com Use code ROCK10 to get 10% off! https://www.adam-audio.com/ https://www.spectra1964.com https://gracedesign.com/ https://pickrmusic.com  https://RecordingStudioRockstars.com/Academy https://www.thetoyboxstudio.com/ Listen to the podcast theme song "Skadoosh!" https://solo.to/lijshawmusic Listen to this guest's discography on Spotify: https://open.spotify.com/playlist/2TzboLsCf0C4mlKX1dNqtT?si=k3tHsiPgR3CRv-zuuo5GKA   If you love the podcast, then please leave a review: https://RSRockstars.com/Review   CLICK HERE FOR COMPLETE SHOW NOTES AT: https://RSRoockstars.com/541

Send us a textA quick holiday drop turned into a whirlwind: we start with Merry Christmas chaos, trip over the “three wise men,” detour into reality TV in Utah, and end up interrogating the gap between what looks smart on paper and what actually works in real life. It's a snack-sized episode that still serves heat—fast jokes, stray facts, and a heartfelt nod to everyone juggling family, faith, and free time this season.We get candid about relationships and the myth of bandwidth: the “cute level of toxic,” how jealousy sneaks in when people believe you can do better, and why adding partners isn't a productivity hack. Then we rocket into history nerd mode, arguing Titanic dates and decoding ship prefixes like RMS and USS. It's a reminder that trivia isn't trivial when it's a gateway to curiosity—and that being wrong together can be fun when the goal is discovery, not dominance.The back half tees up our next big breakdown: Interstellar. We love the film's scientific ambition, especially time dilation near a black hole, but we push on the difference between elegant theory and messy practice. If gravity can stretch time, what else would it bend—like tides on a shallow water world? We unpack why the simplest questions can save the most time and how practical thinking keeps high concepts grounded. It's all a preview of the full, nerdy, no-stone-unturned movie survival episode dropping soon.Hit play for a festive blend of humor, history, and sci-fi curiosity. If you're into movie logic, pop-culture deep dives, or friends who fact-check each other mid-laugh, you're home. Subscribe, share with a friend who loves Interstellar, and leave a review telling us which movie “science” you'd put on trial next.

In this episode, Wesley Pergament, Co-Founder and CEO of Sola Insurance, joins FNO: InsureTech for an in-depth discussion on how Sola uses objective weather data and a hybrid policy model to address major pain points in property insurance. With roots in disaster recovery and technology, Wesley explains Sola's evolution from a tornado-focused product to comprehensive wind and hail coverage, targeting gaps left by high deductibles and widespread fraud. The conversation details Sola's careful expansion into 15 states through partnerships with vetted agency networks and ongoing engagement with organizations such as Lloyd's, both as coverholder and Lloyd's Lab participant. Key Highlights Inspired by first-hand experience with Hurricane Sandy, Wesley describes Sola's foundation to help communities recover from natural disasters using data and engineering expertise. Sola started by offering tornado-specific parametric coverage before expanding to meet the scale of wind and hail losses, which together cause significantly higher annual damage than hurricanes or wildfires. Sola combines elements of parametric and indemnity insurance, optimizing for accurate, correlated loss response and aligning insurer and policyholder interests. The model leverages detailed weather analytics and property data in claim assessment. The company's core proposition is addressing the growing insurance gap as traditional home policies raise wind and hail deductibles—often above the cost of roof replacement. Sola's data-driven validation reduces exposure to opportunistic claims, supporting more efficient operations and sustainable loss ratios. Sola's claims are managed independently from primary carriers, typically settling within a few days after hail or wind events. The process relies on verified weather data, roof and property characteristics, and photographic evidence. Sola's selective agency strategy prioritizes established, reputable agents and sustained territory and account management support. The distribution approach focuses on quality representation and claims service excellence. Sola's participation in the Lloyd's Lab accelerator and current status as a Lloyd's coverholder have supported product development and reinsurance relationships. Product modeling draws from both proprietary analytics and leading catastrophe models (ISO/Verisk, RMS). State insurance departments, including Oklahoma, have highlighted Sola's program as a potential solution for homeowners facing increased premiums and limited wind and hail coverage.

Send us a textAlthough MMA Risk Management Services (RMS) staff can't keep the snow from flying, they can help prevent people from slipping on snow and ice.  This week, Dan Whitter, RMS's Loss Control Manager, joins Rebecca Lambert and Amanda Campbell to share practical tips for avoiding slips, trips and falls.  He also outlines the steps municipalities can take to ensure their facilities, equipment, and staff remain safe throughout the winter season. In addition, Dan discusses the grant programs available to members enrolled in RMS programs—the Ed MacDonald Safety Enhancement Grant and Risk Reduction Grant—designed to keep staff and equipment safe from harm and costly damage.  

In this special on-location episode of One Vision, we welcome Andreas Mettenberger, Managing Director of Synpulse Hong Kong, to discuss the latest trends and opportunities in wealth management. Recorded during the 10th anniversary of Hong Kong FinTech Week, we explore the role of technology in wealth management, differences in regional approaches, and the mindset change needed to create new growth opportunities. Andreas emphasizes the potential of AI to streamline operations and enhance client interactions, anticipating a significant acceleration in AI deployment in the coming years.

In this special on-location episode of One Vision, we welcome Andreas Mettenberger, Managing Director of Synpulse Hong Kong, to discuss the latest trends and opportunities in wealth management. Recorded during the 10th anniversary of Hong Kong FinTech Week, we explore the role of technology in wealth management, differences in regional approaches, and the mindset change needed to create new growth opportunities. Andreas emphasizes the potential of AI to streamline operations and enhance client interactions, anticipating a significant acceleration in AI deployment in the coming years.

In this new episode, 229. When Friendships Change, I'm diving into something we all experience but rarely talk about — the evolving nature of friendships. Whether you're serving a mission, have recently returned home, or are navigating changes in your ward or family relationships, this episode will help you understand why friendships shift and how to move through those transitions with compassion, honesty, and emotional maturity. I'll share real coaching stories from missionaries and RMs who've felt guilt or confusion as their friendships started to look different — and what it means when you're no longer aligned with the same people or interests. We'll talk about how to release that pressure to "keep things the same," why friendships have seasons and cycles, and how letting go of people-pleasing allows for more authentic, Christlike love. If you've ever wondered how to handle a friendship that's changing, or you've felt guilty for growing in a new direction, this episode will help you find peace. You'll learn why honesty with yourself is the kindest path, how to redefine connection without overexplaining or "DTR-ing" every shift, and how to hold gratitude for what was — while making space for what's next. As always, if you found this episode helpful, I want to invite you to subscribe if you aren't already, share this episode with your friends and missionaries you know, and write a review. I know this work will help LDS missionaries around the world and it would mean so much to me if you did. Until next week my friends.   Website | Instagram | Facebook   Get the Full Show Notes and Text/PDF Transcripts: HERE   Free PDF Download:  Podcast Roadmap   Free PDF Download:  Preparing Missionary Cheat Sheet   Free Training for Preparing Missionaries:  Change Your Mission with this One Tool   RM Transition Free Video Series:  3 Tools to Help RMs in Their Transition Home   Free Guide:  5 Tips to Help Any Returning Missionary   Schedule a Free Strategy Call:   Click Here

In this impactful and inspiring episode of Unstoppable Mindset, host Michael Hingson sits down with Ronald Cocking—performer, educator, and co-founder of the Looking Glass Studio of Performing Arts—to reflect on a remarkable life shaped by rhythm, resilience, and love. Ron's journey into the performing arts began at just five years old, when his passion for tap dance ignited a lifelong commitment to dance and musical theater. From his first professional role at age 15 in My Fair Lady to founding one of Southern California's most impactful arts schools, Ron's story is one of dedication, creativity, and community.   But perhaps the most moving part of Ron's story is his 49-year partnership—both personal and professional—with the late Gloria McMillan, best known as Harriet Conklin from Our Miss Brooks. Together, they created a legacy of mentorship through the Looking Glass Studio, where they taught thousands of students across generations—not just how to act, sing, or dance, but how to live with confidence and integrity.   Ron also reflects on the legacy Gloria left behind, his continued involvement in the arts, and the words of wisdom that guide his life:   “Teach a man to fish and you feed him for a lifetime.” “To find happiness, take the gifts God has given you and give them away.”   This is more than a story of a career in the arts—it's a touching tribute to passion, partnership, and purpose that will leave you inspired.   Highlights:   00:48 – Hear how early radio at home shaped a lifetime love for performance. 03:00 – Discover why drumming and tap both trained his ear for rhythm. 06:12 – Learn how a tough studio change led to ballet, jazz, and tumbling basics. 08:21 – See the “sing with your feet” method that makes tap click for students. 10:44 – Find out how a teen chorus role in My Fair Lady opened pro doors. 13:19 – Explore the drum-and-tap crossover he performed with Leslie Uggams. 15:39 – Learn how meeting Gloria led to a studio launched for $800. 18:58 – Get the long view on running a school for 44 years with family involved. 23:46 – Understand how Our Miss Brooks moved from radio to TV with its cast intact. 32:36 – See how 42nd Street proves the chorus can be the star. 41:51 – Hear why impact matters more than fame when students build careers. 43:16 – Learn what it takes to blend art and business without losing heart. 45:47 – Compare notes on marriage, teamwork, and communication that lasts. 48:20 – Enjoy a rare soft-shoe moment Ron and Gloria performed together. 56:38 – Take away the “teach to fish” approach that builds lifelong confidence.   About the Guest:   My father was a trumpet player, thus I heard music at home often in the early 50's and was always impressed and entertained by the rhythms and beats of Big Band music… especially the drummers.  Each time I would see Tap dancers on TV, I was glued to the screen.  It fascinated me the way Tap dancers could create such music with their feet!   In 1954, at age 5, after begging my Mom and Dad to enroll me in a Tap class, my Dad walked in from work and said “Well, you're all signed up, and your first Tap class is next Tuesday.  I was thrilled and continued studying tap and many other dance forms and performing and teaching dance for all of my life.     In my mid teens, I became serious about dancing as a possible career.  After seeing my first musical, “The Pajama Game” starring Ruth Lee, I new I wanted to do musical theatre.  I got my first professional opportunity at age 15 in “My Fair Lady” for the San Bernardino Civic Light Opera Association and loved every minute of it… and would continue performing for this organization well into my 30's   I met Gloria McMillan in the late 60's while choreographing a summer musical for children.  Gloria's daughter was doing the role of Dorothy in “The Wizard of Oz”.  Then, about 3 or 4 years later I would meet Gloria again and the sparks flew.  And, yes, she was Gloria McMillan of “Our Miss Brooks” fame on both radio and television.  Wow, was I blessed to have crossed paths with her.  We shared our lives together for 49 years.   On November 4, 1974, Gloria and I opened a performing arts school together named “The Looking Glass Studio of Performing Arts”.  We would teach and manage the school together for 44 years until we retired on June 30, 2018.  We moved to Huntington Beach, California and spent 3 beautiful years together until she left to meet our Lord in heaven on January 19, 2022.   Ways to connect with Ron:   Lgsparon@aol.com     About the Host:   Michael Hingson is a New York Times best-selling author, international lecturer, and Chief Vision Officer for accessiBe. Michael, blind since birth, survived the 9/11 attacks with the help of his guide dog Roselle. This story is the subject of his best-selling book, Thunder Dog.   Michael gives over 100 presentations around the world each year speaking to influential groups such as Exxon Mobile, AT&T, Federal Express, Scripps College, Rutgers University, Children's Hospital, and the American Red Cross just to name a few. He is Ambassador for the National Braille Literacy Campaign for the National Federation of the Blind and also serves as Ambassador for the American Humane Association's 2012 Hero Dog Awards.   https://michaelhingson.com https://www.facebook.com/michael.hingson.author.speaker/ https://twitter.com/mhingson https://www.youtube.com/user/mhingson https://www.linkedin.com/in/michaelhingson/   accessiBe Links https://accessibe.com/ https://www.youtube.com/c/accessiBe https://www.linkedin.com/company/accessibe/mycompany/ https://www.facebook.com/accessibe/       Thanks for listening!   Thanks so much for listening to our podcast! If you enjoyed this episode and think that others could benefit from listening, please share it using the social media buttons on this page. Do you have some feedback or questions about this episode? Leave a comment in the section below!   Subscribe to the podcast   If you would like to get automatic updates of new podcast episodes, you can subscribe to the podcast on Apple Podcasts or Stitcher. You can subscribe in your favorite podcast app. You can also support our podcast through our tip jar https://tips.pinecast.com/jar/unstoppable-mindset .   Leave us an Apple Podcasts review   Ratings and reviews from our listeners are extremely valuable to us and greatly appreciated. They help our podcast rank higher on Apple Podcasts, which exposes our show to more awesome listeners like you. If you have a minute, please leave an honest review on Apple Podcasts.       Transcription Notes:   Michael Hingson ** 00:00 Access Cast and accessiBe Initiative presents Unstoppable Mindset. The podcast where inclusion, diversity and the unexpected meet. Hi, I'm Michael Hingson, Chief Vision Officer for accessiBe and the author of the number one New York Times bestselling book, Thunder dog, the story of a blind man, his guide dog and the triumph of trust. Thanks for joining me on my podcast as we explore our own blinding fears of inclusion unacceptance and our resistance to change. We will discover the idea that no matter the situation, or the people we encounter, our own fears, and prejudices often are our strongest barriers to moving forward. The unstoppable mindset podcast is sponsored by accessiBe, that's a c c e s s i capital B e. Visit www.accessibe.com to learn how you can make your website accessible for persons with disabilities. And to help make the internet fully inclusive by the year 2025. Glad you dropped by we're happy to meet you and to have you here with us.   Michael Hingson ** 01:20 Well, hi there, wherever you are and wherever you happen to be today. Welcome to unstoppable mindset. I'm your host, Mike hingson, and today we get to chat with Ron Cocking, who is Ron. Well, we're going to find out over the next hour. And Ron was married for many years to another person who is very famous, and we'll get to that, probably not as well known to what I would probably describe as the younger generation, but you're going to get to learn a lot about Ron and his late wife before we're done, and I am sure we're going to have a lot of fun doing it. So let's get to it. Ron, welcome to unstoppable mindset. We're glad you're here.   Ron Cocking ** 01:59 Thank you. I'm so glad to be here. Michael, this. I've been looking forward to this.   Michael Hingson ** 02:04 I have been as well, and we're going to have a lot of fun doing it.   Ron Cocking ** 02:08 Do you one note on that last name? It is cocking. Cocking, he comes right? Comes from a little townlet in the coal mining country of England called Cockington.   Michael Hingson ** 02:20 I don't know why I keep saying that, but yeah, cocky, no   02:23 problem.   Michael Hingson ** 02:24 Well, do you go up to the reps recreations at all?   Ron Cocking ** 02:28 Oh my gosh, Gloria. And I know you and Gloria, did do you still do it? I've it's on my schedule for September.   Michael Hingson ** 02:35 I'm gonna miss it this year. I've got a speech to give. So I was going to be playing Richard diamond at recreation. Well, I'll have to be Dick Powell another time, but I thought that you you were still doing   02:50 it. I'm planning on it cool.   Michael Hingson ** 02:53 Well, tell us about the early Ron cocking and kind of growing up in some of that stuff. Let's start with that.   Ron Cocking ** 02:59 Well, the early part of my story was when I was born just a little before television came in, before everyone had a TV in their home. How old are you now? If I maybe, you know, I am now 76   Michael Hingson ** 03:12 Okay, that's what I thought. Yeah, you're one year ahead of me. I'm 75   Ron Cocking ** 03:16 I was born in 49 and so my earliest remembrances my mom and dad and my brother and I lived with our grandfather, and we had no television, but we had this big it must have been about three to four foot tall, this big box on the floor in a very prominent spot in the living room. And that was the Sunday afternoon entertainment. I remember my family sitting around, and I listened and I laughed when they did, but I had no idea what was going on, but that was the family gathering. And just, I know we'll talk about it later, but I I just have this notion that at that time I was laughing, not knowing what I was laughing at, but I bet I was laughing at my future   Michael Hingson ** 04:02 wife, yes, yes, but other things as well. I mean, you probably laughed at Jack Benny and Amos and Andy and   Ron Cocking ** 04:09 yeah, I remember listening to all those folks, and it was just amazing. Then when television came about and my father was a trumpet player, and I loved his trumpet playing, and he practiced often at home. He would sit in his easy chair and play some tunes and scales and that sort of thing. But what captured my ear and my eyes when I went to on rare occasions when I could go to his engagements, it was always the drummer that just stuck out to me. I was mesmerized by the rhythms that they could produce. And when TV came about, I remember the old variety shows, and they often would have tap dancers like. Had a stair gene, Kelly, Peg Leg Bates and the Nicholas brothers, and I just, I was just taken back by the rhythms. It sounded like music to me. The rhythms just made me want to do it. And so I started putting that bug in my parents ears. And I waited and waited. I wanted to take tap dance lessons. And one day, my dad walks in the back door, and I said, Dad, have you signed me up yet? And he said, Yep, you start next Tuesday at 330 in the afternoon. So I was overjoyed, and I went in for my first lesson. And mind you, this was a private tap class. Total Cost of $1.25 and we had a pianist for music, no record player, live piano, wow. And so I, I rapidly fell in love with tap dance.   Michael Hingson ** 05:56 And so you did that when you weren't in school. Presumably, you did go to school.   Ron Cocking ** 06:00 Oh, yeah, I did go to school. Yeah, I did well in school, and I enjoyed school. I did all the athletics. I played little league, and eventually would be a tennis player and water polo and all that stuff. But all through the years, after school was on the way to the dance classes.   Michael Hingson ** 06:16 So you graduated, or I suppose I don't want to insult drumming, but you graduated from drumming to tap dancing, huh?   Ron Cocking ** 06:24 Well, I kept doing them both together. I would dance, and then when my dad would practice, I would beg him to just play a tune like the St Louis Blues, yeah, and so that I could keep time, so I pulled a little stool up in front of an easy chair, and one of the arms of the chair was the ride cymbal, and the other one was the crash cymbal, and the seat of the chair was my snare drum. I would play along with him. And eventually he got tired of that and bought a Hi Fi for my brother and I, and in the bedroom I had a Hi Fi, and I started to put together a set of drums, and I spent hours next to that, Hi Fi, banging on the drums, and I remember it made me feel good. One day, my mom finally said to me, you know, you're starting to sound pretty good, and that that was a landmark for me. I thought, wow, somebody is enjoying my drumming,   Michael Hingson ** 07:18 but you couldn't do drumming and tap dancing at the same time. That would have been a little bit of a challenge. A challenge.   Ron Cocking ** 07:23 No, I would practice that the drums in the afternoon and then head for the dance studio later. And in this case, I was a local boy. I grew up in Riverside California, and my first tap teacher was literally maybe two miles from our house. But that didn't last long. She got married and became pregnant and closed her studio, and then I she recommended that I go see this teacher in San Bernardino by the name of Vera Lynn. And which I did, I remember walking into this gigantic classroom with a bunch of really tall kids, and I was maybe seven or eight years old, and I guess it was kind of an audition class, but after that evening, I she put me in the most appropriate classes, one of which was ballet, which I wasn't too excited about, but they all told me, If you're going to be a serious dancer, even a tap dancer, you need to get the basic body placement from ballet classes. And I said, Well, I am not going to put any tights and a T shirt on. But they finally got me to do that because they told me that the Rams football team took ballet class twice a week at that time. Ah. Said, no kidding. So they got me, they they got you. They got me into ballet class, and then it was jazz, and then it was tumbling, and so I did it all.   Michael Hingson ** 08:43 I remember when we moved to California when I was five, and probably when I was about eight or nine, my brother and I were enrolled by my mother. I guess my parents enrolled us in a dance class. So I took dance class for a few years. I learned something about dancing. I did have a pair of tap shoes, although I didn't do a lot of it, but I, but I did dance and never, never really pursued it enough to become a Gene Kelly or Fred Astaire. Well, few of us do. I didn't dislike it. It just didn't happen. But that was okay, but it was fun to, you know, to do it and to learn something about that. And so I even today, I I remember it, and I appreciate it. So that's pretty cool.   Ron Cocking ** 09:32 Well, you would understand what I always told my students, that tap dancing is like singing a song with your feet. Yeah. And I would sing, I would say, you all know, happy birthday, right? So I would sing it, and they would sing it along, and then I'd said, then I would sing it again, and I would sing it totally out of rhythm. And they would wrinkle their nose and look at me and say, okay, so what are you doing? And I'd say, Well, you don't recognize it because the rhythm is not correct. So then I would. Would tap dance Happy birthday, and I'd say, you sing along in your mind and I'm going to tap dance it. And that would always ring a bell in their mind, like, Oh, I get it. The rhythm has to be right on the button, or the people aren't going to recognize   Michael Hingson ** 10:16 that was very clever to do.   Ron Cocking ** 10:18 Yeah, thank you. And they got it, yeah, they got it, yeah,   Michael Hingson ** 10:22 which is even, even more important. That's pretty clever. Well, so you did that, and did you do it all the way through high school,   Ron Cocking ** 10:30 all the way through high school? And I think when I was 15, I was, I think I was in the eighth grade, maybe ninth, but I was 15 and got my first chance to I was cast in a professional show for San Bernardino civic light opera Association. And the show was My Fair Lady, and it was my English and journalism teacher at the junior high who had been cast. He was a performer also, but something came up and he couldn't follow through, so he had given the association my name, and I was out in the backyard. My mom came out. Said, Hey, San Bernardino clo just called and they want, they want to see it tonight at seven o'clock. So I put on my dance clothes and went over, and the director, by the name of Gosh, Gene Bayless, came out, and he showed me a couple of steps. And he said, Yeah, let's do it together. And he said, Boy, you unscramble your feet pretty well there kid. And he he looked over into the costumers and said, measure this guy. Let's put him in the show. So I was beside myself. And long story short, I Gosh, I'm over the over the years, I my first show was at age 15 with them, and I participated, did shows with them, until I think my last show, I was about 38 years old, and that last show was anything goes with Leslie uggums, wow.   Michael Hingson ** 11:52 So what part did you play on my fair lady?   Ron Cocking ** 11:55 I was just a chorus kid. I remember in the opening when Eliza sings, that wouldn't it be lovely? Wouldn't it be lovely? I was a street sweeper. I remember I had a broom, and there were three of us, and we were sweeping up that street and working in and around. Eliza Doolittle, of   Michael Hingson ** 12:11 course, being really spiteful. You just said a little while ago, you were beside yourself. And the thing that I got to say to that, quoting the Muppets, is, how do the two of you stand each other? But anyway, that's okay, good in the original Muppet Movie, that line is in there. And I it just came out so fast, but I heard it. I was going, Oh my gosh. I couldn't believe they did that. But anyway, it was so cute, very funny. That's great. So and then you were, you eventually were opposite Leslie UB,   Ron Cocking ** 12:39 yes, that was one of the high points talking about dancing and drumming at the same time. In fact, I used to give a drum a basic drum summer camp where I would teach tappers the basics of music notation, quarter notes, eighth notes, 16th notes. And then we would put a tap orchestra together. Everybody had their own music stand and their own drum pad. I would conduct, and we would play little pieces, and they would they would drum a rhythm, tap, a rhythm, drum, a rhythm, tap, a rhythm. And so anyway, it came full circle. One of the highlights of my dance slash drumming career was this show I did with Leslie uggums, the director had done this prior, and he knew it would work, and so so did the conductor in the entre Act. The top of the second act, the pit orchestra starts and plays like eight measures. And then there were six of us on stage, behind the main curtain, and we would play the next 16 bars, and then we would toss it back to the pit, and then toss it back to us, and the curtain would begin to rise, and we were right into the first song that Leslie uggums sang to get into the second act. Then she wanted to add a couple of songs that she liked, and she was very popular in with the audiences in San Bernardino, so she added a couple of songs, and I got to play those songs with her and and that was just so thrilling. And I with the scene finished, I had to have my tap shoes on, on the drum set. I had to hop down from the riser, and came out, brought one of my Toms with me, and played along with another featured tap dancer that kind of took over the scene at that point. So it was, it was really cool.   Michael Hingson ** 14:31 So with all this drumming, did you ever meet anyone like buddy rip?   Ron Cocking ** 14:35 No, I never met any famous drummers except a man by the name of Jack Sperling, which was one of my drumming idols,   Michael Hingson ** 14:44 Donnie Carson was quite the drummer, as I recall,   Ron Cocking ** 14:48 yeah, he did play yeah and boy, his his drummer, Ed Shaughnessy on his on The Tonight Show was phenomenal. Yeah, he's another of my favorites, yeah,   Michael Hingson ** 14:57 well, and I remember. I guess Johnny Carson and Buddy Rich played together, which was kind of fun. They   Ron Cocking ** 15:07 played together, and so did Ed Shaughnessy and Buddy Rich did a little competition on the show one time I realized, yeah,   Michael Hingson ** 15:15 right, yeah. Well, and it's interesting to see some of the performers do that. I remember once trying to remember whether what show it was on, maybe it was also a Tonight Show where Steve Martin substituted for Johnny, but he and the steel Canyon, the Steve Canyon band, came out. Of course, he was great on the band, and then flat and Scruggs or flat came out. Or which one? Yeah, which one did the banjo flat, I think, but they, but they banjo together, which was fun?   Ron Cocking ** 15:51 Oh, wow, yeah, yeah. Steve Martin is a tremendous band. He is, Whoa, yeah. I,   Michael Hingson ** 15:56 I have a hard time imagining fingers moving that fast, but that's okay, me too. I saved my fingers for Braille, so it's okay. So where did you go to college?   Ron Cocking ** 16:07 I went to for two years to Riverside City College, Riverside Community College, and then I went for two years to San Bernardino Cal State, San Bernardino, and I was majoring in English because I thought I may want to do some writing. But in the meantime, I became married, I became a father, and so I was trying to work and study and maintain a family life, and I just couldn't do it all. So I didn't quite finish a major at Cal State San Bernardino. I continued actually a nightclub drumming career. And now, now we're getting up to where this our performing arts studio began between Gloria and I.   Michael Hingson ** 16:50 So was it? GLORIA? You married first?   Ron Cocking ** 16:53 No, okay, no, Gloria was married. Gloria was a prior, prior marriage for 20 some years, or 20 years, I guess. And I had been married only two years, I think. And when we first, well, we actually met while we were both. I'll tell you the story in a minute, if you want to hear it. Sure, the first time I ever met Gloria Macmillan, I had no idea who she was, because she her name was Gloria Allen at the time that was, that was her married name that she took after the arm is Brooks TV show. Well, she took that the new name before the TV show even ended. But I was choreographing a children's summer musical, and the director came up said, hey, I want you to meet this young lady's mom. So the young lady was Gloria's daughter, her oldest daughter, Janet. And I said, Sure. So he said, This is Gloria. Allen, Gloria, this is Ron. And we shook hands, and I said, Nice to meet you. And that was it. And so the show happened. It ran for a couple of weeks, and Gloria was a wonderful stage mom. She she never bothered anyone. She watched the show. She was very supportive of her daughter. Didn't, didn't stage manage   Michael Hingson ** 18:09 whatsoever, which wasn't a helicopter mom, which is good,   Ron Cocking ** 18:12 definitely that, which was just really cool. So and so I was maybe three, four years later, so Gloria obviously knew that I could dance, because she had seen me choreographed. So I got a phone call from Gloria Allen, and I said, Okay, I remember her. She wanted to meet because she was thinking about starting an acting school and wanted someone to teach actors some dance movement. So I went over for a interview and took my little at that time, about two and a half year old, daughter, three year old, and we chatted, and oh my gosh, I just this, this beautiful woman swept me off my feet. And of course, I by the end of the conversation, I said, Gosh, you know, we talked about how we would integrate the acting and the dance, and I said, Can I have your phone number? Nope, I got the old well, we'll call you. Don't call us. And so I had to wait for a few days before I got a call back, but I got a call back, and I don't remember a lot of details, but the sparks flew really, really quickly, and we started planning our school. And if you can believe that this was 1973 when we started planning, maybe it was early 74 and we invested a whole total of $800 to get ourselves into business. We bought a record player, some mirrors, some paint, and a business license and a little shingle to hang out front. We had a little one room studio, and we. Opened on November 4, 1974 and we would close the studio on June 30, 2018 Wow.   Michael Hingson ** 20:08 Yeah. So you, you had it going for quite a while, almost, well, actually, more than 40 years. 44 years. 44 years, yes. And you got married along the way.   Ron Cocking ** 20:20 Well along the way, my my wife always said she fell in love with my daughter, and then she had to take me along with her. Yeah. Well, there you go. So we were together constantly, just running the school together. And then eventually I moved over to San Bernardino, and it was, gosh, some 1213, years later, we got married in on June 28 1987 and but nothing really changed, because we had already been living together and raising five children. GLORIA had four from a private prior marriage, and I had my little girl. So we we got all these five kids through elementary and junior high in high school, and they all went to college. And they're all beautiful kids and productive citizens, two of them still in show biz. Her son, my stepson, Christopher Allen, is a successful producer now and of Broadway shows. And our daughter, Barbara Bermudez, the baby that Gloria fell in love with. She's now a producer slash stage manager director. She does really well at big events with keynote speakers. And she'll, if they want her to, she will hire in everything from lighting and sound to extra performers and that sort of thing. And she's, she's just busy constantly all over the world, wow.   Michael Hingson ** 21:43 Well, that's pretty cool. And what are the other three doing?   Ron Cocking ** 21:47 One is a VP of Sales for it's a tub and shower company, jacuzzi, and the other one is a married housewife, but now she is a grandmother and has two little grandkids, and they that's Janet, the one that I originally had worked with in that children's show. And she and her husband live in Chino Hills, California, which is about 40 minutes from here. I live in Huntington Beach, California now,   Michael Hingson ** 22:14 well, and I'm not all that far away from you. We're in Victorville. Oh, Victorville, okay, yeah, the high desert. So the next time you go to Vegas, stop by on your way, I'll do that, since that's mainly what Victorville is probably most known for. I remember when I was growing I grew up in Palmdale, and Palmdale wasn't very large. It only had like about 20 703,000 people. But as I described it to people, Victorville wasn't even a speck on a radar scope compared to Palmdale at that time. Yeah, my gosh, are over 120,000 people in this town?   Ron Cocking ** 22:51 Oh, I remember the drive in the early days from here to Vegas in that you really felt like you could get out on the road all alone and relax and take it all in, and now it can be trafficking all all the   Speaker 1 ** 23:04 way. Yeah, it's crazy. I don't know. I still think they need to do something to put some sort of additional infrastructure, and there's got to be another way to get people to Vegas and back without going on i 15, because it is so crowded, especially around holidays, that one of these days, somebody will get creative. Maybe they'll get one of Tesla's tunnel boring tools, and they'll make a tunnel, and you can go underground the whole way, I don't know,   Ron Cocking ** 23:32 but that would be, that would be great. Something like that would happen.   Michael Hingson ** 23:38 Well, so you you started the school and and that did, pretty cool. Did, did Gloria do any more acting after our Miss Brooks? And then we should explain our Miss Brooks is a show that started on radio. Yes, it went on to television, and it was an arm is Brooks. Miss Brooks played by e vardin. Was a teacher at Madison High, and the principal was Osgood Conklin, played by Gail Gordon, who was absolutely perfect for the part. He was a crotchety old curmudgeon by any standards. And Gloria played his daughter, Harriet correct. And so when it went from radio to television, one of the things that strikes me about armas Brooks and a couple of those shows, burns and Allen, I think, is sort of the same. Jack Benny was a little different. But especially armas Brooks, it just seems to me like they they took the radio shows and all they did was, did the same shows. They weren't always the same plots, but it was, it was radio on television. So you, you had the same dialog. It was really easy for me to follow, and it was, was fascinating, because it was just like the radio shows, except they were on television.   Ron Cocking ** 24:56 Yeah, pretty much. In fact, there were a lot, there's lots of episodes. Episodes that are even named the same name as they had on the radio, and they're just have to be reworked for for the television screen,   Michael Hingson ** 25:08 yeah, but the the dialog was the same, which was so great,   Ron Cocking ** 25:13 yeah, yeah. And to see what was I going to add, it was our Miss Brooks was one of the very few radio shows that made the transition to television with the cast with the same intact. Yeah, everybody looked like they sounded. So it worked when they were in front of the camera. Yeah,   Michael Hingson ** 25:33 it sort of worked with Jack Benny, because most of the well, all the characters were in it, Don Wilson, Mary, Livingston, Dennis day, Rochester, world, yeah. And of course, Mel Blanc, yeah, oh.   Ron Cocking ** 25:49 GLORIA tells a story. She she and her mom, Hazel, were walking down the street on the way to do a radio show in the old days in Hollywood, and here comes Mel blank, he says, he pulls over. Says, Hey, where are you girls headed because I know that he probably recognized them from being at at CBS all the time, and they said, We're headed to CBS. He said, hop in. Oh, that's where I'm going. So Mel Brooks gave her a ride to the Mel Blanc, yeah, would have been   Michael Hingson ** 26:15 fun if Mel Brooks had but that's okay, Young Frankenstein, but that's another story. It is. But that's that's cool. So did they ever? Did she ever see him any other times? Or was that it?   Ron Cocking ** 26:30 No, I think that was it. That's the one story that she has where Mel Blanc is involved.   Michael Hingson ** 26:36 What a character, though. And of course, he was the man of a million voices, and it was just incredible doing I actually saw a couple Jack Benny shows this morning and yesterday. One yesterday, he was Professor LeBlanc teaching Jack Benny how to play the violin, which was a lost cause.   Ron Cocking ** 26:59 Actually, Jack Benny was not a bad view. No,   Michael Hingson ** 27:01 he wasn't violent. No, he wasn't. He had a lot of fun with it, and that stick went straight in from radio to television, and worked really well, and people loved it, and you knew what was going to happen, but it didn't matter. But it was still   Ron Cocking ** 27:16 funny, and I'm sure during the transition they there was a little bit of panic in the writers department, like, okay, what are we going to do? We got to come up with a few shows. We got to get ahead a little bit. So the writing being just a little different, I'm sure that's part of the reason why they went back and kind of leaned on the old, old script somewhat, until they kind of cut their teeth on the new this new thing called television   Michael Hingson ** 27:39 well, but they still kept a lot of the same routines in one way or another.   Ron Cocking ** 27:45 Yeah, when they work, they work, whether you're just listening or whether you're watching,   Michael Hingson ** 27:48 right, exactly what other shows made it from radio to television with the cast   Ron Cocking ** 27:53 intact? You know, I am not up on that number. I   Michael Hingson ** 27:57 know there were a couple that did. RMS, Brooks was, well, oh no, I was gonna say Abbott and Costello, but that was different, but our Miss Brooks certainly did. If   Ron Cocking ** 28:09 the Bickersons did, I forget the two actors that did that show, but that was a really, Francis   Michael Hingson ** 28:13 Langford and Donna Michi could be, but I think burns and Allen, I think, kept the same people as much as there were. Harry bonzell was still with them, and so on. But it was interesting to see those. And I'm awake early enough in the morning, just because it's a good time to get up, and I get and be real lazy and go slowly to breakfast and all that. But I watched the Benny show, and occasionally before it, I'll watch the burns and Allen show. And I think that the plots weren't as similar from radio to television on the burns and Allen show as they weren't necessarily in the Benny show, but, but it all worked.   Ron Cocking ** 28:58 Yeah, yeah. That's why they were on the air for so long?   Michael Hingson ** 29:02 Yeah, so what other kind of acting did Gloria do once? So you guys started the school   Ron Cocking ** 29:10 well after she well, when we started the school, we found ourselves, you know, raising five children. And so I continued playing nightclub gigs. I had one, one nightclub job for like, five years in a row with two wonderful, wonderful musicians that were like fathers to me. And Gloria actually went to work for her brother in law, and she became a salesperson, and eventually the VP of Sales for a fiberglass tub and shower business down here in Santa Ana. So she drove that 91 freeway from San Bernardino, Santa Ana, all the time. But in,   Michael Hingson ** 29:47 yeah, you could do it back then, much more than now. It was a little better   Ron Cocking ** 29:51 and but in, but twist in between, she managed. Her mom still did a little bit of agency. And she would call Gloria and say. Want you to go see so and so. She did an episode of perfect strangers. She did an episode with Elliot of the guy that played Elliot Ness, stack the show Robert Stack the show was called Help Wanted no see. I guess that was an in but wanted, anyway, she did that. She did a movie with Bruce Dern and Melanie Griffith called Smile. And so she kept, she kept her foot in the door, but, but not, not all that much she she really enjoyed when John Wilder, one of her childhood acting buddies, who she called her brother, and he still calls her sis, or he would call her sis, still. His name was Johnny McGovern when he was a child actor, and when he decided to try some movie work, he there was another Johnny McGovern in Screen Actors Guild, so he had to change his name to John Wyler, but he did that mini series called centennial, and he wanted Gloria for a specific role, to play a German lady opposite the football player Alex Karras. And they had a couple of really nice scenes together. I think she was in three, maybe four of the segments. And there were many segments, it was like a who's who in Hollywood, the cast of that show   Michael Hingson ** 31:28 does that was pretty cool.   Ron Cocking ** 31:32 But anyway, yeah, after Gloria finished armas Brooks, she became married to Gilbert Allen, who, who then became a Presbyterian minister. So Gloria, when you said, Did she continue acting? There's a lot of acting that goes on being a minister and being a minister's wife, and she would put together weddings for people, and that sort of thing. And she did that for 20 years. Wow. So she Gloria was a phenomenon. She did so many things. And she did them all so very well, in my   Speaker 1 ** 32:04 opinion. And so did you? Yeah, which is, which is really cool. So you, but you, you both started the school, and that really became your life's passion for 44 years. Yes,   Ron Cocking ** 32:16 we would get up in the mornings, go do a little business, come home, have a little lunch, go back about 132 o'clock, and we would normally crank up about four after the kids get out of school, and we would teach from four to nine, sometimes to 10. Go out, have some dinner. So yeah, we pretty much 24/7 and we had had such similar backgrounds. Hers on a national radio and television scale, and mine on a much more local, civic light opera scale. But we both had similar relations with our our moms after after the radio tapings and the TV things. GLORIA And her mom. They lived in Beverly Hills, right at Wilshire and Doheny, and they had their favorite chocolate and ice cream stops. And same thing for me, my mom would take me there, two doors down from the little studio where I was taking my tap classes. There was an ice cream parlor, haywoods ice cream. And that was, that was the the lure, if you go in and if you do your practicing, Ronnie, you can, I'll take it for an ice cream so that I did my practicing, had plenty of little treats on the way, so we had that in common, and we both just had very supportive moms that stayed out of the way, not, not what I would call a pushy parent, or, I think you mentioned the helicopter, helicopter, but it   Michael Hingson ** 33:37 but it sounds like you didn't necessarily need the bribes to convince you to tap dance, as you know, anyway, but they didn't hurt.   Ron Cocking ** 33:46 No, it didn't hurt at all, and it was something to look forward to, but I I just enjoyed it all along. Anyway, I finally got to to really showcase what I could do when I was cast as the dance director in the show 42nd street. Oh, wow. And I was lucky. We were lucky. San Bernardino clo was able to hire John Engstrom, who had done the show on Broadway. The earlier version that came, I think it was on Broadway in the mid or to late 70s. He had worked side by side with Gower Champion putting the show together. He told us all sorts of stories about how long it took Gower to put together that opening dance. Because everything in the opening number you you see those steps later in the show done by the chorus, because the opening number is an audition for dancers who want to be in this new Julian Marsh show. So the music starts, the audience hears, I know there must have been 20 of us tapping our feet off. And then a few seconds later, the curtain rises about two and a half feet. And then they see all these tapping feet. And then the main curtain goes out, and there we all are. And. I my part. I was facing upstage with my back to the audience, and then at some point, turned around and we did it was the most athletic, difficult, two and a half minute tap number I had ever done, I'll bet. But it was cool. There were five or six kids that had done it on Broadway and the national tour. And then during that audition, one more high point, if we have the time, we I was auditioning just like everybody else. The director had called and asked if I would audition, but he wasn't going to be choreographing. John Engstrom was so with there was probably 50 or 60 kids of all ages, some adults auditioning, and at one point, John pulled out one of the auditioners, and he happened to be one of my male tap dance students. And he said, Now I want everybody to watch Paul do this step. Paul did the step. He said, Now he said, Paul, someone is really teaching you well. He said, everybody that's the way to do a traveling timestamp so and that, you know, I'll remember that forever. And it ended up he hired. There were seven myself and seven other of my students were cast in that show. And some of them, some of them later, did the show in Las Vegas, different directors. But yeah, that, that was a high point for me.   Speaker 1 ** 36:19 I'm trying to remember the first time I saw 42nd street. I think I've seen it twice on Broadway. I know once, but we also saw it once at the Lawrence Welk Resorts condo there, and they did 42nd street. And that was a lot of that show was just a lot of fun. Anyway,   Ron Cocking ** 36:39 it's a fun show. And as John said in that show, The chorus is the star of the show.   Speaker 1 ** 36:45 Yeah, it's all about dancing by any by any definition, any standard. It's a wonderful show. And anybody who is listening or watching, if you ever get a chance to go see 42nd street do it, it is, it is. Well, absolutely, well worth it.   Ron Cocking ** 37:00 Yeah, good. Good show. Fantastic music, too. Well.   Michael Hingson ** 37:03 How did you and Gloria get along so well for so long, basically, 24 hours a day, doing everything together that that I would think you would even be a little bit amazed, not that you guys couldn't do it, but that you did it so well, and so many people don't do it well,   Ron Cocking ** 37:21 yeah, I don't know I from, from the the first time we met, we just seemed to be on the same wavelength. And by the way, I found out as time went by, Gloria was like Mrs. Humble. She wasn't a bragger, very humble. And it took me a while to find out what an excellent tap dancer she was. But when we went to the studio in the early days, we had, we just had one room. So she would teach actors for an hour, take a break. I would go in teach a tap class or a movement class or a ballet class. I in the early days, I taught, I taught it all. I taught ballet and jazz and and and and   Michael Hingson ** 38:01 tap. Well, let's let's be honest, she had to be able to tap dance around to keep ahead of Osgoode Conklin, but that's another story.   Ron Cocking ** 38:09 Yeah. So yeah, that. And as our studio grew, we would walk every day from our first studio down to the corner to a little wind chills donut shop wind chills donuts to get some coffee and come back. And about a year and a half later, after walking by this, this retail vacant spot that was two doors from our studio, we said, I wonder if that might be, you know, something for us, it had a four lease sign. So, long story short, we released it. The owner of the property loved knowing that Gloria Macmillan was that space. And so luckily, you know when things are supposed to happen. They happen as people would move out next to us, we would move in. So we ended up at that particular studio with five different studio rooms. Wow. And so then we can accommodate all of the above, acting, singing classes, all the dance disciplines, all at the same time, and we can, like, quadruple our student body. So then we made another move, because the neighborhood was kind of collapsing around us, we made another room and purchased a building that had been built as a racquetball club. It had six racquetball courts, all 20 by 40, beautiful hardwood. We made four of them, five of them into studios, and then there was a double racquetball racquetball court in the front of the building which they had tournaments in it was 40 by 40 we moved. We made that into a black box theater for Gloria. And the back wall of the theater was one inch glass outside of which the audiences for the racquetball tournaments used to sit. But outside the glass for us, we had to put curtains there, and out front for us was our. Gigantic lobby. The building was 32,000 square feet. Wow, we could it just made our heart, hearts sing when we could walk down that hallway and see a ballet class over here, a tap class over there, singers, singing actors in the acting room. It was beautiful. And again, it was just meant for us because it was our beautiful daughter, Kelly, who passed away just nine months after Gloria did. She's the one that said, you guys ought to look into that. And I said, Well, it's a racquetball court. But again, the first moment we walked in the front door, you start. We started thinking like, whoa. I think we could make this work. And it worked for another 20 years for us and broke our hearts to basically rip it apart, tear the theater down, and everything when we were moving out, because we we couldn't find another studio that was interested in in coming in, because they would have had to purchase the building. We wanted to sell the building. Yeah. So anyway, of all things, they now sell car mufflers out of there.   Michael Hingson ** 41:02 That's a little different way, way. Yeah, social shock, did any of your students become pretty well known in the in the entertainment world?   Ron Cocking ** 41:11 I wouldn't say well known, but a lot of them have worked a lot and made careers. Some of our former students are now in their 50s, middle 50s, pushing 60, and have done everything from cruise ship to Las Vegas to regional some national tours, even our son, Christopher, he did the national tour of meet me in St Louis with Debbie Boone, okay, and he's the one that is Now a successful producer. He's his latest hit. Well, his first, what can be considered legitimately a Broadway hit show was the show called shucked, and it opened about two years ago, I think, and I finally got to go back to New York and see it just a month before it closed. Very hilarious. Takes place in Iowa. The whole show is built around a county in which everybody that lives there makes their living off of corn, making whiskey. And it is a laugh, way more than a laugh a minute. But anyway, we had one of Gloria's acting students who was hired on with a Jonathan Winters TV sitcom called Davis rules. It ran for two seasons, and here he was like 16 or 17 years old, making, I think it was. He was making $8,000 a week, and he was in heaven. He looked like the Son he played, the grandson of Jonathan Winters and the son of Randy Quaid and so he, yeah, he was in heaven. And then after that, he did a very popular commercial, the 711 brain freeze commercial for Slurpee. The Slurpee, yeah, and he made the so much money from that, but then he kind of disappeared from showbiz. I don't know what he's doing nowadays,   Speaker 1 ** 43:00 but it's, it's, it's interesting to, you know, to hear the stories. And, yeah, I can understand that, that not everybody gets to be so famous. Everybody knows them, but it's neat that you had so many people who decided to make entertainment a career. So clearly, you had a pretty good influence on a lot of, a lot of kids.   Ron Cocking ** 43:20 Yes, I over the years, Gloria and I felt like we had 1000s of children of our own, that they that we had raised together. It's really a good feeling. And I still get phone calls. We got a phone call once a few years back from from one of our students who had been trying to crack the nut in New York, and she called us like 530 in the morning, because, of course, it was Yeah, but she had just signed her first national tour contract and was going to go out with the show cabaret. So fortunately, we were able to drive up to Santa not let's see, it's just below San San Jose. The show came through San Jose, and we got to see her up there. But those kinds of things are what made us keep teaching, year after year, all these success stories. Of course, we have former students that are now lawyers. Those are actors. Well, we   Michael Hingson ** 44:17 won't hold it and we understand, yeah and they are actors, by all means. How many teachers did you have in the studio when you had the big building?   Ron Cocking ** 44:26 Gosh, at one time, we had 10 or 12 teachers, teaching vocal teachers, two or three ballet teachers, jazz teachers, and you both taught as well. And we both continued teaching all through that time. We never just became managers, although that's that was part of it, and mixing business with art is a challenge, and it takes kind of a different mindset, and then what an unstoppable mindset you have to have in order to mix business with performing, because it's too. Different sides of your brain and a lot of patience and a lot of patience. And guess who taught me patience? Uh huh, Gloria Macmillan.   Michael Hingson ** 45:09 I would Conklin's daughter, yes, and I'll bet that's where she learned patience. No, I'm just teasing, but yeah, I hear you, yeah. Well, I know Karen and I were married for 40 years, until she passed in November of 2022 and there's so many similarities in what you're talking about, because we we could do everything together. We had challenges. Probably the biggest challenge that we ever had was we were living in Vista California, and I was working in Carlsbad, and the president of our company decided that we should open an office, because I was being very successful at selling to the government, we should open an office in the DC area. And so we both got excited about that. But then one day he came in and he had this epiphany. He said, No, not Virginia. I want you to open an office in New York. And Karen absolutely hated that she was ready to go to Virginia and all that.   Speaker 1 ** 46:15 But the problem for me was it was either move to New York or take a sales territory that didn't sell very much anymore. The owner wasn't really willing to discuss it, so we had some challenges over that, but the marriage was strong enough that it that it worked out, and we moved to New Jersey, and Karen made a lot of friends back there, but, you know, we always did most everything together. And then when the pandemic occurred, being locked down, it just proved all the more we just did everything together. We were together. We talked a lot, which is, I think one of the keys to any good marriages, and you talk and communicate.   Ron Cocking ** 46:56 Yes, in fact, when after we closed the studio in 2018 it took us a few more months to sell our home, and then when we moved down here, it was only about, I don't know, I don't know if it was a full year or not, but the pandemic hit and but it really didn't bother us, because we had, we had been working the teaching scene for so many years that we basically Were done. We basically walked out of the studio. We did. Neither of us have the desire to, well, let's continue in at some level, no, we cherished our time together. We have a little porch out in front of our home here, and it gets the ocean breeze, and we would sit for hours and chat. And oddly enough, not oddly, one of our favorite things to do, we have a website that we went to that had, I think, every radio show of armas Brooks ever made. And we would sit listen to those and just laugh. And, in fact, Gloria, there are some. She said, You know what? I don't even remember that episode at all. So yeah, that that was an interesting part. But yeah, Gloria and I, like your wife and you really enjoyed time together. We never talked about needing separate vacations or anything if we wanted to do something. We did it   Speaker 1 ** 48:16 together, yeah, and we did too. And you know, for us it was, it was out of desire, but also was easier for us, because she was in a wheelchair her whole life. I was I'm blind. I've been blind my whole life. And as I tell people, the marriage worked out well. She read, I pushed, and in reality, that really is the way it worked, yeah, yeah. Until she started using a power chair. Then I didn't push. I kept my toes out of the way. But still, it was, it was really did meld and mesh together very well and did everything   Ron Cocking ** 48:49 together. That's fantastic. I'm proud of you, Michael, and it really   Michael Hingson ** 48:53 it's the only way to go. So I miss her, but like, I keep telling people she's somewhere monitoring me, and if I misbehave, I'm going to hear about it. So I got to be a good kid,   Ron Cocking ** 49:04 and I'll hear I'll get some notes tonight from the spirit of Gloria McMillan too. I prayed to her before I went on. I said, please let the words flow and please not let me say anything that's inappropriate. And I think she's guided me through okay so far.   Michael Hingson ** 49:20 Well, if, if you do something you're not supposed to, she's gonna probably hit you upside the head. You know, did you two ever actually get to perform together?   Ron Cocking ** 49:30 Oh, I'm glad you asked that, because, well, it had been years since I knew that she was a darn good tap dancer. In fact, I had a tap dancing ensemble of of my more advanced kids, and if they wanted to dedicate the extra time that it took, we rehearsed them and let them perform at free of charge once they made it to that group, they they did not pay to come in and rehearse with me, because I would spend a lot of time standing there creating so. So we were doing a performance, and we wanted to spotlight, I forget the exact reason why we wanted to spotlight some of Gloria's career. Talk about radio a little bit. And I said, Gloria, would you do a little soft shoe routine? And because we had invited a mutual friend of ours, Walden Hughes, from the reps organization, and he was going to be the guest of honor, so I talked her into it. At first she wasn't going to go for it, but we had so much fun rehearsing it together. And it wasn't a long routine, it was relatively short, beautiful music, little soft shoe, and it was so much fun to say that we actually tap danced together. But the other times that we actually got to work together was at the old time radio conventions, mostly with reps, and that's really when I got to sit on stage. I was kind of typecast as an announcer, and I got to do some commercials. I got to sing once with Lucy arnazza. Oh, life, a life boy soap commercial. But when Gloria, Well, Gloria did the lead parts, and oh my gosh, that's when I realized what a superb actress she was. And if I don't know if you've heard of Greg Oppenheimer, his father, Jess Oppenheimer created the I Love Lucy shows, and so Gloria loved Jess Oppenheimer. And so Greg Oppenheimer, Jess Son, did a lot of directing, and oh my gosh, I would see he came in very well prepared and knew how the lines should be delivered. And if Gloria was not right on it, he would say, No, wait a minute, Gloria, I want you to emphasize the word decided, and that's going to get the laugh. And when he gave her a reading like that man, the next time she went through that dialog, just what he had asked for. And I thought, Oh my gosh. And her timing, after watching so many armist Brooks TV and listening to radio shows. GLORIA learned her comedic timing from one of the princesses of comedy timing is Eve Arden, right? They were so well for obvious reasons. They were so very similar. And if you have time to story for another story, do you know have you heard of Bob Hastings? He was the lieutenant on McHale's navy. McHale's Navy, right? Yeah. Well, he also did a lot of old time radio. So we went up to Seattle,   Michael Hingson ** 52:32 our two grandkids, Troy Amber, he played, not Archie. Was it Henry Aldridge? He was on,   Ron Cocking ** 52:40 I think you're right. I'm not too up on the cast of the old time radio show. Yeah, I think you're right. But anyway, he was there, and there was an actress that had to bow out. I don't know who that was, but our grandsons and Gloria and I, we walked in, and as usual, we say hi to everybody. We're given a big packet of six or eight scripts each, and we go to our room and say, Oh my gosh. Get out the pencils, and we start marking our scripts. So we get a phone call from Walden, and he said, hey, Ron Bob. Bob Hastings wants to see Gloria in his room. He wants to read through he's not sure if he wants to do the Bickersons script, because he you know, the gal bowed out and right, you know, so Gloria went down   Michael Hingson ** 53:23 couple of doors, coming   Ron Cocking ** 53:26 Yes, and she so she came back out of half an hour, 40 minutes later, and she said, well, that little stinker, he was auditioning me. He went in and she went in and he said, Well, you know, I don't know if I want to do this. It doesn't seem that funny to me. Let's read a few lines. Well, long story short, they read the whole thing through, and they were both, they were both rolling around the floor. I'll bet they laughing and so and then jump to the following afternoon, they did it live, and I was able to watch. I had some pre time, and I watched, and they were just fantastic together. I left after the show, I went to the green room, had a little snack, and I was coming back to our room, walking down the hall, and here comes Bob Hastings, and he says, oh, Ron. He said, Your wife was just fantastic. So much better than the other girl would have been. So when I told GLORIA That story that made her her day, her week. She felt so good about that. So that's my Bob Hastings story. Bob Hastings and Gloria Macmillan were great as the Bickersons.   Speaker 1 ** 54:29 Yeah, that was a very clever show. It started on the Danny Thomas show, and then they they ended up going off and having their own show, Francis Langford and Donna Michi, but they were very clever.   Ron Cocking ** 54:42 Now, did you realize when now that you mentioned Danny Thomas? Did you realize that Gloria's mom, Hazel McMillan, was the first female agent, talent agent in Hollywood? No, and that's how you know when the. They moved from from Portland, Oregon, a little city outside of Portland. They moved because Gloria's mom thought she had talent enough to do radio, and it wasn't a year after they got here to LA that she did her first national show for Lux radio at the age of five. That was in 1937 with with Edward G Robinson. I've got a recording of that show. What's what show was it? It was a Christmas show. And I don't remember the name of the of it, but it was a Christmas show. It was Walden that sent us. Sent   Michael Hingson ** 55:33 it to us. I'll find it. I've got it, I'm sure.   Ron Cocking ** 55:35 And so, yeah, so, so Gloria was a member of what they called the 500 club. There was a group of, I don't know, nine or 10 kids that by the time the photograph that I have of this club, it looks like Gloria is around 12 to 14 years old, and they had all done 500 or more radio shows. Wow, that's a lot of radio show. There's a lot of radio So Gloria did, I mean, I got a short my point was, her mom was an agent, and when Gloria was working so consistently at armas Brooks, she said, Well, I'm kind of out of a job. I don't need to take you. GLORIA could drive then. And so she came back from the grocery store, Ralph's market near Wilshire and Doheny, and she came back said, Well, I know what I'm going to do. I ran into this cute little boy at the grocery store. I'm going to represent him for television. And she that's, she started the Hazel McMillan agency, and she ran that agency until she just couldn't anymore. I think she ran it until early 1980s but she, my god, she represented people like Angela Cartwright on the Danny Thomas show and Kathy Garver on, all in the family a family affair. Family Affair. Yeah. Jane north. Jane North went in for Dennis the Menace. He didn't get the role. He came back said, Hazel, I don't think they liked me, and they didn't. They didn't call me back or anything. Hazel got on that phone, said, Look, I know this kid can do what you're asking for. I want you to see him again. He went back and they read him again. He got the part, yeah,   Michael Hingson ** 57:21 and he was perfect for it.   Ron Cocking ** 57:22 He was perfect for that part was, I'm sorry.   Michael Hingson ** 57:27 It's sad that he passed earlier this year.   Ron Cocking ** 57:29 Yeah, he passed and he had, he had a tough life, yeah,   Michael Hingson ** 57:36 well, you know, tell me you, you have what you you have some favorite words of wisdom. Tell me about those.   Ron Cocking ** 57:45 Oh, this goes back to the reason why I came across this when I was looking for something significant to say on the opening of one of our big concert programs. We used to do all of our shows at the California theater of Performing Arts in San Bernardino, it's a really, a real gem of a theater. It's where Will Rogers gave his last performance. And so I came across this, and it's, I don't know if this is biblical, you might, you might know, but it's, if you give a man a fish, you feed him for a day. If you teach a man to fish, you feed him for a lifetime. And that's what I felt like Gloria and I were trying to do. We wanted to teach these kids as as professionally. We treated our students as they were, as if they were little professionals. We we expected quality, we expected them to work hard, but again, Gloria taught me patience, unending patience. But we knew that we wanted them to feel confident when the time came, that they would go out and audition. We didn't want them to be embarrassed. We want we wanted them to be able to come back to us and say, Boy, I felt so good at that audition. I knew all the steps I was and I and I read so well it was. And thank you. Thank you. Thank you. And so that aspect of it, we felt that we were feeding them for a lifetime, but we also were creating all of these arts patrons, all these lovers of the arts, 1000s of kids now love to go to musicals and movies and plays because they've kind of been there and done that at our studio. And so anyway, that's and whether, whether or not it was their confidence in show business or whether it was their confidence we've had so many calls from and visits from parents and former students saying, Boy, I just was awarded a job. And they said my my communication skills were excellent, and I owe that to Gloria. I was on the beach the other day, and I looked over and there was this young man and his wife. I assumed it was his wife. It was they were setting. Up their beach chairs, and I looked and I say, Excuse me, is your name Brandon? And he said, No, but he said, Is your name Ron? And I said, Yes. He said, No, my name is Eric. And I said, Eric puentes. And so we reminisced for a while. He took tap from me. He took acting from Gloria, and he said, you know, he was sad to hear of Gloria's passing. And he said, You know, I owe so much to Gloria. I learned so much about speaking in front of groups. And he is now a minister. He has his own church in Redlands, California, and he's a minister. And of all the billion people on the beach, he sits next to me. So that's one of those things when it's supposed to   Michael Hingson ** 1:00:41 happen. It happens. It does. Yeah, well, and as we talked about earlier, you and Gloria did lots of stuff with reps, and I'm going to miss it this time, but I've done a few, and I'm going to do some more. What I really enjoy about people who come from the radio era, and who have paid attention to the radio era is that the acting and the way they project is so much different and so much better than people who have no experience with radio. And I know Walden and I have talked about the fact that we are looking to get a grant at some point so that we can train actors or people who want to be involved in these shows, to be real actors, and who will actually go back and listen to the shows, listen to what people did, and really try to bring that forward into the recreations, because so many people who haven't really had the experience, or who haven't really listened to radio programs sound so forced, as opposed to natural.   Ron Cocking ** 1:01:46 I agree, and I know exactly what you're saying. In fact, Walden on a couple of at least two or three occasions, he allowed us to take some of Gloria's acting students all the way to Seattle, and we did some in for the spurred vac organization Los Angeles, we did a beautiful rendition of a script that we adapted of the Velveteen Rabbit. And of all people, Janet Waldo agreed to do the fairy at the end, and she was exquisite. And it's only like, I don't know, four or five lines, and, oh my gosh, it just wrapped it up with a satin bow. And, but, but in some of our kids, yeah, they, they, they were very impressed by the radio, uh, recreations that they were exposed to at that convention.   Speaker 1 ** 1:02:37 Yeah, yeah. Well, and it's, it is so wonderful to hear some of these actors who do it so well, and to really see how they they are able to pull some of these things together and make the shows a lot better. And I hope that we'll see more of that. I hope that we can actually work to teach more people how to really deal with acting from a standpoint of radio,   Ron Cocking ** 1:03:04 that's a great idea. And I know Walden is really sensitive to that. He Yeah, he would really be a proponent of that.   Michael Hingson ** 1:03:10 Oh, he and I have talked about it. We're working on it. We're hoping we can get some things. Well, I want to thank you for being here. We've been doing this an hour already.  

Shawn Tierney meets up with Ivan Spronk of Siemens to learn about the SINAMICS G220 Clean Power Drive in this episode of The Automation Podcast. For any links related to this episode, check out the “Show Notes” located below the video. Watch The Automation Podcast from The Automation Blog: Listen to The Automation Podcast from The Automation Blog: The Automation Podcast, Episode 251 Show Notes: Special thanks to Ivan Spronk of Siemens for coming on the show, and to Siemens for sponsoring this episode so we could release it “ad free!” To learn about the topics discussed in this episode, checkout the below links: White Paper – Drives Harmonics – Siemens US SINAMICS G220 Website SINAMICS G220 Catalog Siemens Product Configurator (SPC) for quick part number selection and access to data sheets and CAD files Siemens energy savings calculator, SinaSave  Read the transcript on The Automation Blog: (automatically generated) Shawn Tierney (Host): Thank you for tuning back into the automation podcast. My name is Shawn Tierney from Insights and Automation. And this week, I meet up with Iren Sprock from Siemens to learn all about their g two twenty clean power drive. I also wanna thank Siemens for sponsoring this episode so I can bring it to you completely ad free. So with that said, I wanna welcome back to the show Ivan from Siemens to talk about VFDs. And, this is something we’ve been wanting to talk about for a while. But before you jump into your presentation, Ivan, could you introduce yourself to our audience for those who maybe didn’t catch your last appearance? Ivan Spronk (Siemens): Thanks a lot for just having me, back to the show here. I got a slide up here that introduces myself. I’m the product manager for the Synamix variable frequency drives for Siemens here in The US. So, yeah, happy to be back on your show. And what I would, like to talk to you about and discuss with you is our latest variable frequency drive. It’s the g two twenty and specifically the clean power drive. This is a best in class solution for a grid friendly power quality when using variable frequency drives. So Shawn, you audience may be wondering why we should discuss power grids and variable frequency drives, but I’ll just say if you’ve been around variable frequency drives or VFDs as I’ll refer to them, you’ve likely had conversations or heard something about VFDs creating or generating harmonics on the power grid. Shawn Tierney (Host): Oh, yeah. Yeah. Ivan Spronk (Siemens): Yeah. Or maybe you’ve, you know, someone in the audience has been involved in a situation where harmonic current and associated voltage distortion on your plants electrical grid were causing overheating on transformers and cabling or potentially causing circuit breakers to trip their fuses to open. Or maybe you’re just an engineer looking to select and specify a variable frequency drive and you may need to answer some questions about harmonics that typical VFDs generate. You can relate to any of those or if you’re just interested to know more about this topic, we’ll invite you to stay tuned here for the next thirty five to forty minutes for discussion on power quality and VFDs. So, Shawn, I’d like to just ask you, have you heard anything about the power grid lately? Shawn Tierney (Host): Well, yes. I’ve heard lots about the power grid. I know that this is more and more becoming a big issue because when you have a lot of VFDs producing all kinds of harmonics, that can cause lots of problems like the ones you just mentioned. But, also, the utilities are starting to to see this and saying, why are we putting up with this? So aside from the power grid needing to be hardened against all kinds of things, everything from EMTs to, you know, just, you know, Yahoo’s shooting transformers in the middle of nowhere. This has been a, I think, a big and growing issue. That’s why I’m glad that you’re on the talk about this because in the preshow, we just really I really got a sense of how important this was, you know, in 2025 and going into 2026. Ivan Spronk (Siemens): Lots of conversations about the grid and really how the grid electrical grid is being stretched. And with all of the, you know, data centers being built, you know, lots of conversations about how power is gonna be supplied with those. In other words, I think for maybe the first time in twenty five to thirty years, they’re anticipating our usage and power requirements going up. So that’s why I think all these utilities and plant operators are interested in the grid. So some reasons to discuss then the power grid and variable frequency drives is variable frequency drives very useful for motor control, but left unchecked, they can introduce several power quality issues. Harmonics, as you can see on the screen here, typical VFDs use rectifiers that generate nonlinear currents that also distort the voltage waveform and these harmonics can propagate through the electrical grid. And, you know, with that voltage waveform potentially affecting other equipment or you know at worst case other utility customers. These voltage fluctuations can lead to flicker in lighting and perhaps even take other sensitive devices offline. Typical VFDs some of them can negatively impact power factor. Again, something that’s of interest to utilities and plant operators. And just you know there could be some resonant frequencies set up that may interfere with other things. So those are all things that yeah, harmonics, and you know, the voltage fluctuation, things that are unfavorable I’ll say. And what I’d like to do here Shawn is just gonna introduce, you know, what I want to tell you is we have a very unique product here in the SINAMICS g two twenty clean power drive. Three advantages of this product we’ll wanna talk about here through through the course of this podcast. One is the clean power technology. So you can see total harmonic current distortion is well under the strictest harmonic standards there at less than 2%. It delivers near unity power factor under almost any load conditions. And I’ll just say, you know, there has been technologies out there that have been able to produce, you know, those two attributes of of, you know, low current harmonic distortion and near unity power factor. But what’s most unique about, this product we’re that we’re launching here is the compact space saving design, and it is the smallest low harmonics drive in the market. And also available, it’s all self contained, so there’s nothing extra to install. It’s all in one footprint. And I’ll give you an example here. This product is released up to a through 150 horsepower now. By the end of the year we’ll have it released up through 200 horsepower. So this is a relatively new product on the market. But that 200 horsepower drive imagine this Shawn less than three feet tall, less than 12 inches wide, and about 14 inches deep. That’s a 200 horsepower drive, that will guarantee these, things I’ve got got here with low distortion and near unity power factor. Shawn Tierney (Host): You know, that’s not something I would have thought of is that these clean drives are more clean power drives are typically larger than their standard cousins. And so the fact that you’ve been able to get these smaller and closer to the sizes of the standard drive is pretty impressive. Ivan Spronk (Siemens): You’re quite we we’d like to think so. Let’s dig into, you know, first of all, if, you know, I I said variable frequency drives or typical very free frequency drives can generate harmonics. So why why would people wanna use VFDs? Turns out variable frequency drives are really good at two things. One, saving energy, and two, improving processes. So just, you know, kind of as a reminder, why do people wanna use variable frequency drives? Just a reminder. Yeah. Half the world’s electricity is used by motors operating pumps and fans and compressors. And just as a reminder, Shawn, if you’ve got a 20 horsepower motor operating and I just use twelve hours a day, two sixty five days a year, I used average commercial power rate of 12¢ a kilowatt hour, that electric motor is gonna cost you running across the line around $5,500. If I operate that motor with a VFD and I’ve got opportunity to adjust the speed, you know, based on demand, electricity cost is half of it. So $2,500 And that even gets more grows your savings grow if I consider a 100 horsepower motor operating twelve hours a day, two fifty days a year, again, with that same kilowatt hour. You know, that running that electric motor across the line is gonna cost you, you know, I’ve got on the screen here $28,000. I’ve got the opportunity to adjust speed and control speed as I do with the VFD, and the application can, of course, doesn’t have to be run at full speed. You know, just typical savings again is gonna it’s gonna cost you less than half to run that electric motor. So I like to put those numbers in front of people, Shawn, because I think people lose sight of how much it costs to run an electric motor. So any thoughts on that? Shawn Tierney (Host): Yeah. You know, when I first got in this industry back in ’90, this was big. This was talked about all the time. They were like, if you get a fan or pump and you don’t have a VFD on it, you’re just wasting money. And and and to some extent too soft status. But the point being that, you know, if the way you drove your car was you just put the pedal to the metal everywhere you went, you could just realize that’s not gonna be very efficient, you know, fuel wise. And so, you know, putting aside the process thing, because many processes, you can’t just do a cross line starter. Right? It would be great for the process, but, typically, fans and and pumps, I mean, the the amount of savings is tremendous. And I know for a very long time, this was, you know, it was up there with, lighting, up upgrading your lighting in your plant. You’re just installing VFDs or upgrading VFDs from very old VFDs. A lot of times, the cost savings and the rebates would make the the project pay for itself within a year or two, if not sooner. So it’s, for anybody listening, I know all the old timers out there are like, yeah, know all about this, but maybe he’s listening and you haven’t taken a look at that, definitely call your, local representative and ask him about energy savings with VFDs because it’s huge. I mean, it’s just massive. As you show in this slide, you know, but it’s it’s it’s just it’s it’s super. Now at your second point, processes, yeah, some processes I mean, they wouldn’t be possible if all you had was across the line. You know, we we think about, you know, needing a very precise control, very precise movement, maybe not servo control, but in some cases, you know, just, you know, starting the VFD across the line would, you know, would break things. Right? You need to coast up and coast down, and, you know, be able to vary the speed based on the but what part of the what product you’re making sometimes. But let me turn it back to you. Ivan Spronk (Siemens): Sure. So one of the links that I’ve got in my resources is a a a link to it’s called CNA Save. It’s just our Siemens name for our, energy savings calculator. So somebody, you know, with that link, somebody could go in there and very quickly, you know, put in their own horsepower and speed profiles and energy costs and see for themselves, you know, more dialed in. So yeah. And I liked your your conversation about the process. I mean, so I think what I’m trying to establish on this slide really is VFDs are very useful and very effective at helping manage costs and improve process. So, you know, VFDs are not going away. So now let’s then dive into figuring out, okay, how do we handle harmonics that typical drives generate. So first, Shawn, let’s start with a conversation about what are line harmonics, and I’ve just got a few slides here to talk about that. But we’ll relate it to, you know, what we call linear loads, which is like an induction motor or resistors or incandescent lamps. They draw sinusoidal or linear current proportional to voltage. So in other words, for the audience on the looking at this slide here you can see very nice looking sine waves. Yeah. In this country of course that’s coming from our power plants at 60 Hertz. Looks very nice, right? Well, when you put a nonlinear load on your electrical distribution center system, yeah, and nonlinear loads are any power electronic device that’s converting AC power to DC power. So that’s what we’re doing in a VFD, we’re converting AC power to DC power. But also computers, you know, that’s obviously not the same talking in the same magnitude of power, but this is what computers are doing. Same thing with LED lamps now, Discharge lighting. And very interestingly enough, this is also what’s going on in EV charging stations. You know, you’re converting AC power to DC power, so that’s considered a nonlinear load. And what happens there in a nonlinear load is it doesn’t draw, it just draws power in pulses when the capacitors need to charge. So think about these capacitors charging more at the top of the waveform, And that’s then what causes these variations in both voltage and current, from the fundamental sine wave. And you know, in very simple terms, that’s what these harmonics are. Yeah. They’re non sinusoidal, they’re nonlinear, and even since it’s changing with the applied voltage. So there’s some things that they, you know, negative impacts we’ll say. And again, for the audience that’s looking at the slide there, you can kind of see some of these nonlinear currents stacked up there. Point is it creates a much more complex waveform, and there’s current flowing at those multiple frequencies. So Shawn, I’ve got for for people that are maybe having a hard time visualing this up, I’ve got a little example. So can you think, Shawn, of a musical group that sings in parts? Shawn Tierney (Host): Mhmm. Ivan Spronk (Siemens): Even if we can’t mention them on the air, you can we can all think of, you know, a group that’s in Yep. Yep. Yeah. Exactly. So here we go. We’ve got a musical group singing in different parts, and these different musical parts are sung at different pitches or frequencies. And that all blends together to make a richer sound. Right? Well, we can think of that fuller sound that’s flowing at those frequencies. That’s kinda like more current flowing in there. So, you know, to back to our harmonics example. So, yeah, there’s world flowing at these other frequencies other than 60 Hertz, and that kind of fundamentally becomes a problem we need to deal with. And then in that in that group, Shawn, can you think of someone what does it sound like when they sing off key? Shawn Tierney (Host): Absolutely. Who doesn’t sound good. Ivan Spronk (Siemens): Does it so maybe we’ll think of that as voltage distortion. So we gotta gotta do something about that too. So Shawn Tierney (Host): Yeah. I’d like to you know what? For me, you know, to and I think the charts for those listening, I think the charts really spell it out. They’re color coded, and they show the different harmonics. And for me, I think charting it is kinda one of the ways to understand it visually because if you think about let’s say you have a large rock, a medium rock, and a small rock, and you throw all three at the same time into a pond. You can visually see the big ripple, the medium ripple, and the small ripple, but it’s really hard for you to understand as they’re spreading out what the effect would be on, you know, any any, you know, maybe toy boats that your kids have in the water or grandkids have in the water. Right? And so it it’s it’s a very tough for for human beings to try to keep in their head more than three things happening at a time. Right? And so and so I I love seeing the chart here, and it shows the relationship to when the capacity of charging and how that affects the primary and the sympathetic and the different waveforms. And I just know that these are, you know, inducing currents, And each one of these are inducing currents, but it’s like that throwing multiple rocks into into a body of water. I just can’t I, you know, I need to see it. I need to draw it out. I just can’t, you know, understand. Hey. Well, that me means this little boat’s gonna go to the Northwest because, you know, you know, and this is where I think it’s it’s easy to overlook the effects that these harmonics have because it is it does get kinda complicated to visualize. Ivan Spronk (Siemens): Yeah. No. I I like that analogy of, the rocks and the water too. You can see those wave forms and yeah. It becomes, you know, more current flow that has to be dealt with. And and the voltage notching is something again, talking about typical VFDs. I’ve got a little picture here of yeah, showing in the center of the screen there. Just main section of a typical VFD with the rectifier front end that’s a six pulse, standard six pulse rectifier in there that’s what you know is very very common. You can see the DC link capacitors in the middle there, and of course the inverter section on the output which is recreating that sine wave. But let’s turn our attention to you know the input waveform that we’re showing. You can see you know drawing power creating those that notched waveform. And really what I want to point out on this slide is okay that’s kind of at the top of the slide I’ve got a picture of OneDrive doing that that you know on any given distribution system there’s a variety of loads right? Each with its own signature that interacts with each other, So you end up in trying to show down in this down in the orange section here of this drawing. Okay all of these different loads combined with their own signature to create kind of a system signature if you will. And then what happens is, okay, you’ve got standards that we’ll talk about here a little bit, but standards and specifications, you know, you’ll see if you’re an engineer dealing with harmonics, you know, they often refer to this point of common coupling. So that’s kind of what I’m trying to come across on this slide here as well is when you have a system, you know, it’s very useful to identify this point of common coupling where you’re gonna measure, these harmonics. So you’ll see that in a lot of specifications. Not sure if you ever seen that, Shawn. Shawn Tierney (Host): No. And and and just the point of common coupling, when you’re saying that you’re referring to go ahead. Give me that again. What what does that actually mean? Ivan Spronk (Siemens): If you notice over on the right side here, we’ve got a different loads. I’m showing I’m showing a couple of different drives. I’m showing few motors operating across the line, each with their own signature, but that ends up creating, you know, on the distribution system, you know, a system signature. So we need some place, you know, to decide, you know, if you’re trying to meet a spec, well, tell me then where I have to measure it. So that becomes that’s what this point of common coupling is. And I just wanted to get that term out there because people have often heard of this. Sometimes it’s right at the we’ll say the you know connection to the Utility Transformer. If you’re a plant operator maybe you’ve got a handful of buildings over here and you want to define a point of common coupling between some of these other buildings. Mhmm. But it’s just a, yeah, place to define for a measurement. Shawn Tierney (Host): So in this case they have let’s say they have a transformer here. This transformer feeds two, let’s say, VFDs and then two motor starters. So they’re exactly at that point, you know, on the outfeed of the transformer, which we know we have four loads on, to be that point of common coupling. Because what’s gonna happen is we have all these different loads, so we have all these different waveforms. We have the different harmonics from the VFDs. So that’s gonna average together to give us a a waveform that’s the combination of those four devices, And that’s point of common coupling. Alright, I’m with you. Thank you. Ivan Spronk (Siemens): Exactly. Again, just one other factor, just to talk about a factor that impacts the magnitude of harmonics, is something else you’ll see in a lot of specifications is what’s called the relative short circuit ratio. And really this is just a metric that’s used when evaluating the grid’s ability to support variable frequency drives and and really any other nonlinear load, which, you know, we mentioned LED lighting and there’s other nonlinear loads out there too. But what it does is compares the strength of the grid or distribution system maybe that you have in your plant to the size of the connected load. And of course, this ratio and therefore the magnitude of the harmonics is impacted by transformer size, by what you all got connected if I’ve got other reactors, how much cable I’ve got connected. And then probably most importantly by load size and type. In other words, by load size I mean, okay is this 50 horsepower or 200 horsepower? And by type meaning, is this 300 horsepower running across the line or is it on a with a VFD? I like to give an example there, Shawn. Water treatment facilities often you hear a lot about harmonics in those facilities because often there’s such big motor loads being controlled by VFDs and that is by far the largest represents the largest percentage of load on that transformer. Right? So I’ve got to imagine kind of this remote water treatment facility, you know, what’s out there? Probably four to five to six depending on how big it is, you know, huge motors running pumps, right? And not much else. So there’s an example of people that would be you know very concerned about how much you know what percentage of nonlinear load do I have on my transformer? So that’s kind of all relates back to this short circuit ratio. Again, something you see in a lot of specs. So just trying to give some definition around what that is. Sure if you got anything, any questions or anything you wanted to add or? Shawn Tierney (Host): No. I I appreciate that. Appreciate you going over. Ivan Spronk (Siemens): No. Kind of a point I’m trying to make is, you know, there’s multiple factors that impact the magnitude and lots of things to think about and figure out. It’s like, wow. If you’re a plant engineer with responsibilities for a power grid, wouldn’t it be great not to have to think about this? And I guess ask you to remember, you know, why I showed you at the beginning of this is, well, our our product, you know, take that whatever’s I drive is giving you no distortion at the terminals, no, you know, near unity power factor. So it becomes something that can really simplify. Yeah. Make make make a life of a plant engineer much simpler by specifying products that are you know low harmonic content. So let’s talk just okay so we kind of defined variable frequency drives. We we like them. They do a lot of good things. But okay there’s some things going on with harmonics. Okay so what’s what’s necessarily bad about these harmonics? So I’ve got a couple slides here showing that’ll walk us through the effects of, you know, kind of the pain points of harmonics. So, you know, with regards to transformers, generally, remember we talked about there’s there’s more current flowing at these other frequencies. So that’s gonna induce some additional heating and additional losses, likely to see some insulation stress, possibly even some resonant frequencies that are gonna set up core vibrations. So those are some of the, you know, undesirable things with generators. You know, there’s most good sized facilities have a standby generator. Right? Well, now if I’m operating a lot of nonlinear loads, I’d really start to need need to start to pay attention to, okay, is my generator gonna work to power these nonlinear loads? So something to consider there. And what what ends up happening is you people may have to oversize that generator Shawn Tierney (Host): Mhmm. Ivan Spronk (Siemens): To be able to run these nonlinear loads. And dropping down to cables and conductors again, if I’ve got more current flowing through them, that’s gonna increase your cable losses due to increased cable resistance caused by the skin effect, which is something that in tendency of alternating currents to flow primarily along the surface of the conductor. Yeah. Increasing or decreasing its ability to, you know, do its job and really deteriorating the the insulation, due to excessive heating. So those are all, you know, negative things that happen when you have a lot of harmonics. Right? Alright. Looking at one more slide of just some, you know, negative impact on circuit breakers or that may trip prematurely or fuses that may open prematurely. Again, thermomagnetic circuit breakers have these bimetallic strips that may be impacted by those additional currents flowing. Electronic type circuit breakers use current sensors which need to account for, you know, these harmonic currents. Yeah. Most circuit breakers are designed to trip at a zero crossover point. So with these distorted currents, you know, there may be some spurious zero crossovers. And then kind of some similar problems with fuses again due to heating effect. This RMS current and non uniform current distribution through the fuse element. You know, what tends to happen is people may have to oversize fuses. But of course, I’m also, you know, to match that actual RMS curve that’s flowing with these harmonics. But okay, that’s not necessarily unless somebody’s out there measuring it, they don’t know what that is. Right, Shawn? And I’ve got codes to meet. I can’t just put a way bigger fuse in. So, you know, it kind of becomes this balancing act. Right? Yep. So Yeah. So those are all things, you know, that happen when you have a lot of harmonics. Again, I can kind of summarize them on one slide here. Line, you know, line harmonics produced by these nonlinear loads cause overheating, inefficient operation, you know, and more losses, perhaps some premature line tripping, perhaps some system oscillations and instability, perhaps noise, and and yeah. And reduced power factor. So none of those are good. Right? In general, reduced efficiency, increased power loss and energy costs, and of course then higher carbon emissions as well. And yet to kind of summarize this all up, current distortion is is bad, infects your all your systems. You gotta account for it. Voltage distortion is often the one that will get people that it’s much worse because that goes all other systems as well if if left unchecked. So that’s my kind of my summary slide there of effects of harmonics and why we wanna do things to control them. So any any thoughts or questions there, Shawn? Shawn Tierney (Host): No. I think I think the slide does a good job of showing that, you know, this isn’t not just for your VFD, VSD. It’s the other things on the line too that you’re affecting. Right? So so now I’m sure some of the, some of those, listening or watching have have stories of where, you know, one drive, two drive wasn’t a problem, four, five, six drives, and they started seeing these issues because it was cumulative. Right? You know, the more drives you have. So, I’d love to hear any stories you guys that are listening and watching have about this and what you did to resolve it. But, this is this is I mean, in some cases, you may just need to get a VFD, like this clean power drive that eliminates this problem versus, you know, other ways of dealing with it. Ivan Spronk (Siemens): Sure. Oh, so, yeah, that that leads well into my next kind of couple of slides here. I mean, harmonics are not new. Line harmonics voltage distortion isn’t something that’s new. I mean, this this has been around for as long as VFBs has been around. So people have come up with, you know, ways to mitigate this. And I’ve got, you know, five of those methods listed on the screen. And we’re just gonna kinda very quickly step through these. But the last one there is really we’re gonna get to okay. What is in the g two twenty that makes it unique, and why do I wanna talk about it? So again, what and we’ll come back to this summary slide at the end here, but just okay. Like I said, people have come up with a handful of different ways to try and mitigate harmonics. First one is just, you know, a simple line reactor. And what you also see is some manufacturers, and Siemens has done this too, to some of our lines. We have DC chokes in the, you know, in that DC link section. You know, it’s an inductor and really all that’s doing is imposing, you know, opposing rather the rate of change of current flowing through it. So it kinda takes the top off of those notches if you you will. Yeah. It’s simple, probably economical. It’s usually applied to each VFD. If you know something about what impedance you need, there’s there’s a selection you know available in these AC line reactors. You can select the impedance you want. But some of the negative things is they take up more panel space. They gotta wire it. And in reality, it only offers kind of a small improvement. So people invented other things. So the next thing I got here is people came up with, they call them massive harmonic filters. They’re also called line harmonic filters, you know, LHF, you see that or harmonic trap filters. And what these do is they eliminate or control kind of those dominant lower order harmonics. I didn’t talk about this much, but these harmonic currents that are flowing they’re they’re much more dominant kind of at the lower end of the frequency range so they these harmonic trap filters work on, you know, those low order harmonics. And they they can be effective for, you know, putting in front of a drive. Kind of what they consist of is a LC circuit there, maybe with a damping resistor, and they get tuned to these specific frequencies. So but again, it’s a device that takes up panel space. I have to install that separate from the drive, so I gotta wire it. And then they don’t do a very good job because they still have, you know, voltage notching and instability on gen generator operation is a a is a known problem with these things. And okay you’re introducing more losses to the system. So that’s passive harmonic filters. The next thing I’ve got here is, you may have this has been pretty common in the industry. It’s called the 18 pulse front end. And really what this does is uses takes your incoming three phase power and really converts it to nine phases with a, you know, special transformer, that creates a phase shift between these different, now nine phases, so I can now I gotta have this 18 pulse, diode bridge and you can kinda see that on the on the slide here too. So I need, you know, this involves a lot of equipment. I need this auto transformer, I need a different rectifier bridge, you know, a much bigger one really, but it does do a really good job of yeah. So I’m not drawing current in big chunks anymore, I’m drawing current more often. Right? Because I’ve got this, you know, 18 pulse rectifier. So it really does a good job of meeting, you know, there’s a standard out there called IEEE five nineteen that’s referenced, that we’ll talk about just a little bit more here in a bit. And these also, work relatively well with the standby generator. Some of the negative things is, okay, you know, soon as I introduce that transformer and more switching, that reduces my system efficiency. And really the big one is this takes a ton of space to not only mount that transformer, but that, 18 pulse rectifier. I got a wire between all of that. So it ends up being a pretty substantial product cost in terms of component cost and and floor space cost. So, but you know has been widely used in the industry but a lot of metal, you know copper and iron, being used in that solution. Next IBT bridge and a DC bus much like the front end, front two parts of that AC drive that I showed you. So we’ve got kind of a the front end and a DC bus set in there. And what this really does is monitors the current and then really generates compensation current in opposite phase to offset harmonics. So this can be, you know, effective. The waveform looks pretty good. It’s unaffected by impedance changes because it’s managing the switches. But yeah, it tends to be you know more complex, it’s more expensive than passive filters, and again it becomes another device to install. Permissioning can be a bit of a challenge because you gotta get this tuned to obtain optimal performance. Although there are some self tuning ones out there that, you know, help take that burden away. But, yeah, you gotta install another piece of equipment that takes up think of it as, you know, two thirds of another VFD setting out there. Right? Shawn Tierney (Host): I would think it is also less energy efficient too because so we all know we have noise canceling headphones. They take power to generate a cancel waveform. Right? So we were already losing power because of harmonics, and now we’re generating another waveform to cancel out the harmonics. So it just seems like we’re losing more energy to produce this canceling wave. So it I mean, I could if this is the option that works, then you have the space granted, but it seems like it’s less energy efficient than maybe a passive filter. Right? But I don’t know. What do you I mean, two thirds more of the panel space as a as just the VFD alone. That sounds like a lot of equipment. Ivan Spronk (Siemens): Give you a a fucking waveform. So I think that’s why people like it. But, yeah, it is definitely something that’s more complex. And and again, I think also there’s that commissioning aspect. And another thing is okay. So you get it set up on a given distribution system and it’s doing great. Okay what happens when I add a couple of more drives on this distribution system? It’s gonna change the dynamics and may need to do some recommissioning. So again it’s something that a plant operator would would need to you know pay attention to. So all those methods and and what I’m gonna get to next is something that’s actually in the G220. So all these previous method methods you know kind of works to a degree and each kind of has its maybe strong points and and not so strong points. But what I want to talk about now is something that’s called active front end. And this is you know, the g two twenty clean power drive is a version of this active front end. So active front ends. So what do we mean by that? Basically, it’s, you know, a sinusoidal input rectifier. And we are controlling the commutation or when we’re conducting energy. So with that we can get, you know, if done right we can have a high dynamic response. So we can respond to, changes for instance, you know, voltage dips in the distribution center excuse me, distribution system. And and because of that, then we we can also kinda get because we’re controlling when we’re conducting current, you know, it’s it’s near you unity power factor. So, yeah. These active front ends have been versions of these drives out there as well. What’s unique about the g two twenty is that it’s a two quadrant active front end. So power is flowing only in one direction. So in other words from the supplier line source, you know, through the drive to the motor. These are called clean power. So you hear the name clean power infeed that’s because okay the, you know, the infeed or line supply is is clean. This is known as something, out in the industry. They’re called Vienna bridge rectifiers. Vienna bridge rectifiers, something that was invented in the mid nineties. And basically, I I just put up a, you know, bigger diagram of kinda what’s going on here. There you can kinda see, okay, it is only two quadrant, but there’s this three level switching process that really reduces all these lower ordered harmonics. So this provides them a stable controllable. The advantage is five voltage DC output, so there’s no voltage reduction going on. Makes it ideal for high power applications like VFDs. And again, remember I mentioned earlier in the conversation here, electric vehicle chargers. So this is a technology that’s been popularized by some of the people. Yeah. Making electric vehicle chargers as well. So and really, yeah. What we’re doing here is using on smaller sizes MOSFETs or on larger sizes, you know, IGBTs here in the power section. Mhmm. And then using a very, you know, part of the sauce here is the control or of the pulse width modulation to manage power inflow is is really, as short a sentence as I can come up to describe what’s going on here. With this, because we’re only controlling power in one direction, there’s some ability, you know, we we don’t have as many switching losses. Again, because we’re only dealing with two quadrants, it’s a compact size, but it is non regenerative. And I I just what I’ll do here is I’ll put up, you know, a four quadrant comparison. So there are active front ends out there that are four quadrant, which has more of a full IGBT, you know, front end to it. The advantage of that is you do get power flow. It is regenerative. You do get power flow in both directions. But of course now I have higher losses because I’m switching in both directions and and you know, just a little bit less efficient. So really kind of coming back to what’s in the the g two twenty clean power drive is this two quadrant Vienna Bridge rectifier. Again because we’re only controlling power in one direction there’s some space savings that that come from that. So yeah and I’ll just add a two quadrant so that’s why this is targeted at you know, non regenerative load applications like pumps and fans. Right? And compressors. Those are not regen load applications. If you need something, you know, four quadrant that would be, you know, like think of a hoisting application or something like that. Maybe large centrifuges or something like that that has a lot of mass that’s been accelerated up and yet can capture some region on the D cell. But that’s kind of, what’s in the g two twenty clean power drive. So, Shawn, I’ll just kinda stop there and the and by the way, the waveform is fantastic. Just dialed that in there. So any thoughts or questions or what’s on your what’s on your mind there? Shawn Tierney (Host): Yeah. No. That’s important to know. So, you know, you got the two quadrant version in the Clean Power g two twenty. And the important thing here is you’re gonna get beautiful. You’re gonna get beautiful elimination of harmonics. You’re gonna have a beautiful waveform. But when you make this choice, you’re also opting out of, regen, like you said, like a hoist or a large inertia load. There’ll be no regenning, which in some cases, you’d be choosing a different VFD. That’s just a different application. Right? Ivan Spronk (Siemens): Exactly. Shawn Tierney (Host): But I think most VFD applications, at least the ones I’ve seen over the years, do not have any regen. Right? They’re your standard purpose, even your high performance VFDs are not doing regen or anything any any type of regeneration capabilities. So I think for most applications, that’s not gonna be an issue, but it’s important to point out. Ivan Spronk (Siemens): What do you think? In the you know, some people we’ve asked questions about, why didn’t you just make it four quadrant? Well, let me ask you, Shawn. What do you think’s less expensive to make? A a two quadrant or four quadrant version? Shawn Tierney (Host): I got a feeling the four quadrant may be twice as much. Yeah. Well, at least that part of it. Right? The front end. Ivan Spronk (Siemens): And when do you think would, you know, take up more handle space Shawn Tierney (Host): at two quadrant or four quadrant? Yeah. Exactly. Exactly. Yeah. Ivan Spronk (Siemens): So, I mean, it’s it’s a very targeted, again, targeted at those, applications that are non region load applications, which Yeah. I’ll I’ll submit that’s at least 80% of them, you know, what’s out there. So if so, again, this really just to emphasize, it’s it’s a Vienna bridge rectifier. So, you know, some uniqueness there. But then really, also the software side of it, you know, building the, algorithm to manage that power flow and assure efficient operation is what’s been done in the g two twenty drive. And yeah. With regards to nice looking waveforms, it’s a lights out, you know, the best looking waveform out there. And matter of fact, I’ve got one more slide here that shows just, you know, development team took one of our g two twenty products, you know. So this is what’s shown over on the left side here is just your standard our, you know, waveform. You can see kind of the double humped waveform there. If you put a passive harmonic filter in front of the g two twenty, you know, waveform starts to look pretty good. But now if you just use a clean power drive, you get a very nice looking waveform. All that worrying about what the effect of harmonics how they’re generated you don’t have to think about that anymore because right at the input terminals of the drive you know, we’re giving you very very low turn harmonic distortion. So and and also that near unity power factor. So that’s really the advantages of the clean power drive. Shawn Tierney (Host): Well, and I you know, just for the audio audience, I mean, we’re looking at the standard g two twenty, right, your standard drive. You’re looking at a total harmonic distortion of, let’s say, 33. Well, you put that passive harmonic filter on, that’s standard drive. Now we’re down to around 4%. Right? But if you have a lot of those drives, that may not be enough. Right? So with the clean power g two twenty, we’re down to under 2%, 1.9 total harmonic distortion. And you see that I know you guys listening can’t see it, but you can see that in the waveforms. All the viewers who are watching can see the waveforms definitely the improvement as you go through each of these options. And, again, you’ll know if you need clean power. Right? I’m fairly sure that, you you know, if you don’t need clean power, you don’t need it. Right? But if you need it Right. And and this is something that I think we’ll see more and more because quite honestly, I mean, power fact, we all know how that affects your utility bill and how our company thinks about that. And so we can accept more stringent controls over time as, yes, the systems become more advanced. You know, you’re gonna get dinged if you have really bad power, you know, the quality of the power. If you’re causing problems down, you know, for the rest of the block or for the rest of the, business park, they’re gonna start tracking that. So let me turn it back to you, Evan. Ivan Spronk (Siemens): Yep. We’re kind of to the end. I’ve got a couple of slides just to summarize what we’ve talked about here. You know, the the g two twenty is, a new drive for us. It’s our next generation SINAMICS product. And really this drive was designed and built on four pillars of digitalization. So in the form of you know, having a digital twin capability to help engineers shorten design and engineering efforts when sizing a drive system, and then tools to optimize operation once it’s up and running. You can see another pillar of secure, meaning security, with regards to cybersecurity and and safety that protects people from machines and protects machines from people as well and other sinister actors. And ease of use, you know, next generation product starting with a clean sheet of paper. Okay. Some things were done with regards to selection, configuring, commissioning, training, things like that with making the product as easy to use as possible. And then this fourth pillar of being sustainable, you know optimizing manufacturing resources and materials used, even operational efficiency during the life of the product and then even considering you know the end of the product life cycle. So all of those things designed into the Sinamics G220 and then if we look again specifically at the advantages of the clean power drive, you know that nice clean low low total distortion that complies with the harmonic standards, near unity power factor, and again, in that space saving design. And just to kinda give you an idea, I’ve I’ve been telling you it’s small, and I think I maybe let the cat out of the bag at the beginning of the, presentation as well. Yeah. Here’s here’s kind of a table that shows dimensions, and there’s that 200 horsepower drive that I referenced. So, yeah, this this technology, you know, it’s not like buy the drive and buy buy something else to add on to it. It’s all in one package. And, yeah, that that 200 horsepower drive, you know, 31 inches tall, less than 12 inches wide, and about 14 inches deep. That’s a 200 horsepower clean power drive that would yeah. You wouldn’t have to think about all this harmonic stuff. And I’m not gonna put up a chart that shows competitor a, b, and c and and our product next to it. But you can take that table and go find go look at other people’s solutions and you’ll see yeah. It’s it’s a very compact device. So that’s kind of the point of that slide there, Shawn. And, yeah, really my last slide then just kind of I have drawn heavily from a white paper that my counterpart, Nikun Shah, wrote. So we’ll give you a link to go download that, white paper. That discusses a little bit more. I’ve kinda mentioned on and off, I triple e five nineteen. That is by far the prevalent standard in this country for, yeah, describing what harmonics are, different medication techniques. And then, you know, there’s tables in there. It’s like, okay, if you’re being called to meet specification at triple eight five nineteen, you know, here are the harmonic current distortion levels and voltage distortion levels that that you need to meet. So that’s all laid out in that white paper. Yeah. And then we’ll give you a a link to our website, to the g two twenty catalog. I have another very useful feature shown that I’ll give you a link to is the seamless product selector where you can go and, you know put in a part you know very quickly pick a part number and then get to some you know CAD models of it. And then I’ve mentioned that energy savings calculator at all. So Shawn that’s kind of what I had for today. I hope that was interesting to you and, more importantly, interesting to your audience. Shawn Tierney (Host): Yeah. And I just wanna remind the audience that we had you on to talk about the g two twenty a while back. We also had Jackie on that go through commissioning the one twenty and the two twenty. So if you’re kinda curious, how do you do that in TIA portal? Because I’ve never done that before. So Jackie came on, and she walked us through that for both of these two models. We also have received some samples from Siemens. So we will be, trying those out them ourselves here in the in the studio. Don’t know. Don’t have a date on that. We’re a little backed up here. But, definitely, they’re right in front of me every day, so I don’t forget about them. So we’ll be doing that as well. And, then we’ll make those available to our in person students who come to the school as well as we’ll add those as lessons to the online course over at the automation school. But so lots of stuff. We’ve had a lot of coverage. If you have any questions, check out this white paper. I’m sure we just touched the surface of what’s in there. And, of course, Ivan and all his colleagues at Siemens would love to hear from you. And, Ivan, let me, pass it back to you for the final word. Ivan Spronk (Siemens): Yeah. Just thank you so much for having me on, Shawn. Shawn Tierney (Host): Well, I hope you enjoyed that episode. I wanna thank Ivan for coming on the show and giving us that very technical presentation, which I totally enjoyed. I hope you guys did too. Also wanna thank Siemens for sponsoring this episode because you guys know I love to really stem completely ad free and available to the entire public. So with that said, I also wanna thank you for tuning back in this week. If you think about it, please give me a thumbs up or a like or a five star review. That is the best way for me to find new vendors to come on the show. And with the exception of Thanksgiving week, we should have a show every week up until the last two weeks of the year, and we are already recording shows for next year. So I’m excited about that. If you know any vendors you think we should be on the show, please reach out to them. I’m working on a new media guide as well, and so, we’d love to have them on the show this coming year of 2026. So with that said, I just wanna wish you all good health and happiness. And until next time, my friends, peace. Until next time, Peace ✌️  If you enjoyed this content, please give it a Like, and consider Sharing a link to it as that is the best way for us to grow our audience, which in turn allows us to produce more content

The gap between too few officers and too many leads is widening—and that's exactly where smart tech can actually serve people, not just impress them. Erik sits down with retired Grand Prairie veteran Kevin Cox—who built an intelligence center, stood up a drone program, and now helps agencies turn noisy data into usable truth—to unpack what really moves the needle: DFR done right, LPRs with guardrails, and analytics that turn “we should follow up on everything” into “we found the right thing fast.”Kevin charts the path from early DJI airframes and battery headaches to today's drone-as-first-responder pods that launch in minutes and arrive with context. He explains why language matters—ditch “force multiplier,” speak in terms of speed, accuracy, and accountability—and how policy and audit trails preserve public trust. We go deep on data: merging messy master-name indexes, mining body-cam transcripts for the one overheard clue, tying LPR hits to CAD and RMS, and surfacing the top leads so detectives can be heroes more often. Deconfliction isn't a buzzword here; it's officer safety and case integrity, with live alerts that keep units—and neighboring agencies—from colliding.We also take on a thorny topic: the rise of privatized policing. Kevin lays out the risks of HOA-style enforcement and a two-tier system, and shares a saner alternative—use private sensors to summon public law enforcement, keep state power public, and make oversight non-negotiable. Finally, for officers eyeing a second act, Kevin offers a candid roadmap: which tech roles fit different temperaments, how to prep years ahead, and how to translate street-earned skills into product, consulting, or sales without losing your sense of service.If you care about faster outcomes, safer officers, and cases that hold up in court, this conversation is your field guide. Subscribe, share with a teammate, and leave a review telling us the one tool you think most improves time-to-truth.Join our Discord!! https://discord.gg/BdjeTEAc 

Cardon is joined by Austin and Brittany with their guests, BYU students Carly, Joe and Drew. They tackle one of the most persistent questions and stereotypes surrounding Brigham Young University (BYU): Is BYU really "this way"?The conversation kicks off with a playful analysis of a viral campus interview video titled “Utah Mormons are Different,” where BYU students are asked tongue-in-cheek questions about dating, marriage, and BYU culture. They react to answers that seem to play into stereotypes, like needing to convert and get married in the temple to "pull" a Mormon, RMs (returned missionaries) pursuing recent high school graduates, and the much-memed BYU engagement timeline ("my neighbors dated for a week before getting engaged").

In this episode of the Wise Woman podcast, Erin Doppelt interviews Rose-Marie Swift, the founder of RMS Beauty. Rose-Marie shares her journey from a childhood in Canada to becoming a renowned makeup artist and entrepreneur. She discusses her health challenges that led her to create a clean beauty brand, emphasizing the importance of intuition and authenticity in business. The conversation covers the birth of RMS products, advice for aspiring entrepreneurs, healthy living, and the future of RMS Beauty. Bio: A pioneer of the clean beauty movement, Rose-Marie Swift is the founder and the spirit of the brand. A master makeup artist for over 30 years, her lightbulb moment was realizing that cosmetics could be made with better, safer ingredients while simultaneously making women more beautiful. Bold, authentic and unwavering in her quest for innovative clean ingredients that perform, she launched RMS in 2009 to clean up the industry and set a higher standard for beauty. Takeaways: Rose-Marie's journey into the beauty industry began with her childhood experiences in Canada. Health challenges prompted Rose-Marie to create RMS Beauty, focusing on clean ingredients. Intuition plays a crucial role in Rose-Marie's decision-making process. The first RMS product was the eye polish, followed by the iconic Living Luminizer. Rose-Marie emphasizes the importance of trusting one's gut and intuition in business. She encourages aspiring entrepreneurs to stick to their vision despite external opinions. Healthy living is a core principle for Rose-Marie, influencing her diet and lifestyle choices. RMS Beauty is committed to using natural ingredients and avoiding harmful chemicals. Rose-Marie's products are designed to enhance natural beauty rather than mask it. The future of RMS Beauty includes new product developments with a focus on clean ingredients. https://www.talkable.com/x/ehBTv1 (use this code for $20 off!) Message Erin on instagram if you'd like to connect @erinrdoppelt

Hour 1 for 9/15/25 Anthony D. Kolton of RMS discusses how his company is working to use stem cells to cure diabetes (2:17). Then, Dr. Mark Miravalle covered Our Lady of Sorrows (31:08) and how Our Lady Suffers (41:46). Link: https://www.regenmedsolutions.com/about/leadership-team/ https://www.markmiravalle.com/

In this episode, 216. Being Who You Want to Be, I'm diving into one of the most powerful tools I've used with missionaries, mission leaders, parents, and RMs over the past six years—learning to take aligned action. What does that mean? It means checking in with your thoughts and feelings before making decisions or having hard conversations, and making sure they reflect the kind of person you actually want to be. We explore how to lead with love instead of pressure, act with compassion instead of fear, and find confidence in your choices—even when others don't understand them. Whether you're a missionary navigating companion issues, a parent trying to support your kid, or a returned missionary figuring out your next steps, this episode will help you build emotional self-trust and clarity. I'll also share some real-life examples, including how I apply this with my own kids and in my business, and we'll reflect on a beautiful lyric from The Secret Garden that reminds us: the person you're meant to be is already inside you. This is your reminder that you can be intentional. You can be YOU. And when your thoughts and emotions align with your values, you'll show up with peace, purpose, and power. As always, if you found this episode helpful, I want to invite you to subscribe if you aren't already, share this episode with your friends and missionaries you know, and write a review. I know this work will help LDS missionaries around the world and it would mean so much to me if you did. Until next week my friends.     Website | Instagram | Facebook   Get the Full Show Notes and Text/PDF Transcripts: HERE   Free PDF Download:  Podcast Roadmap   Free PDF Download:  Preparing Missionary Cheat Sheet   Free Training for Preparing Missionaries:  Change Your Mission with this One Tool   RM Transition Free Video Series:  3 Tools to Help RMs in Their Transition Home   Free Guide:  5 Tips to Help Any Returning Missionary   Schedule a Free Strategy Call:   Click Here

這一集我們討論了哪些原因讓人成為自己小時候討厭的大人 本集節目由【CLEAR淨】贊助播出